pantheon// 2017 | raw by Study Association Stylos

biannual publication of d.b.s.g. stylos / issue 1 / volume 22

raw

raw (adj.) [rÍť:]

uncooked, new, painful, cold, strong, basic

biannual publication of study association Stylos faculty of Architecture, TU Delft colophon volume 22, issue 1, May 2017 2.300 prints Stylos members and friends of the Stylos Foundation receive the pantheon// editorial office BG.midden.110 Julianalaan 132-134 2628 BL Delft pantheon@stylos.nl QQ (qualitate qua) Menno Meijners editors Sonya Falkovskaia Nina van Liebergen Olivia Harrison Diana Smiljkovic Julia Kapinga Basia van Vliet

lay out Juliette Brouwer, Olivia Harrison & Bo Wielders to this issue contributed Merjam Ajari, Javier Arpa, Aissatou Diallo, Cas Esbach, Harald Hermogenes Batol Bjørkum, Lars Hogeboom, Sofie Angelie Hovgaard, Gustav Kjær Vad Nielsen, Vera Koster, Roel Schiffers, Vita Teunissen, TU Delft Feminists, Francesco Veenstra, Coen de Vries, Gavin Wallace, Jeroen Wassing, Noortje Weenink, Hugo Wijdevel advertisements 23 | De Swart 50 | Design Express 51 | Waltman 65 | MHB

The Delftsch Bouwkundig Studenten Gezelschap Stylos was founded in 1894 to look after the study and student interests at the Faculty of Architecture and the Built Environment at the Delft University of Technology. chairman: secretary: treasurer: education bachelor: education master: external affairs: events and initiatives:

board 123 Coen de Vries Pim Klaassen Bart Simkens Joep Bastiaans Sandra Baggerman Menno Meijners Marianne Mentink

contact D.B.S.G. Stylos Julianalaan 132-134 2628 BL Delft

publisher De Swart, Den Haag cover Juliette Brouwer, Bo Wielders

info@stylos.nl +31 (0)15 2783697 www.stylos.nl

RAW // 04

CHAIRMAN’S NOTE

COEN DE VRIES

STYLOS AGENDA

@MECANOO

BASIA VAN VLIET

NINA VAN LIEBERGEN

THE PRITZKER

TO OUR DEAN PETER RUSSELL

JULIA KAPINGA

TU DELFT FEMINISTS

BASIA VAN VLIET

VERNACULAR ARCHITECTURE

OUR FACULTY

INCLUSIVENESS COLUMN MERYAM AJARI

CHICAGO CASE STUDY CAS ESBACH

INFORGRAPHIC

JULIETTE BROUWER

BRUTALISM GUSTAV KJÆR VAD NIELSEN

49 30

WHY

ARCHITECTURE WITHOUT ARCHITECTS SONYA FALKOVSKAIA

DIANA SMILJKOVIC

DIANA SMILJKOVIC & NINA VAN LIEBERGEN

RAW// JULIA KAPINGA

AISSATOU DIALLO

TEAM WORK MAKES THE DREAM WORK PAVILION

CREATE 00 OUDE DOOS

DELFT 1:1

POEM

DIANA SMILJKOVIC

JULIETTE BROUWER

BASIA VAN VLIET

GAVIN’S KOT

NIEUWE HOLLANDSE WATERLINIE

OLIVIA HARRISON

JULIA KAPINGA

36 20

WRANGE SCHOONHEID COLUMN VERA KOSTER

INDESEM HUGO WIJDEVELD

REPLACE OR RENOVATE THE PÉGÉ-HOUSES? CHEPOS LARS HOGEBOOM

64 22

GET INSPIRED JULIETTE BROUWER & BASIA VAN VLIET

7000 BUILD IT, THE CALAIS JUNGLE BATH

32 14

MATERIALITY AND PERCEPTION

HUMANS OF BK BO WIELDERS

COMMITTEE

membership Stylos €10,- per year account number 296475

2016/2017

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

JULIETTE BROUWER LAY-OUT

SONYA FALKOVSKAIA EDITOR

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

OLIVIA HARRISON EDITOR-IN-CHIEF

EDITORIAL

BY OLIVIA HARRISON For those of you who follow pantheon// and even those of you who don’t, as of this year we are changing our approach to the magazine. Instead of producing an issue every quarter, pantheon// is going to be produced biannually to allow for a greater depth within the magazine. This year is the year of stripping things back and starting afresh, which brings us to this issue’s theme; RAW. RAW denotes something in its purest form, something unshaped by the forces surrounding it, something undisguised, honest and strong. We knew immediately that RAW was the theme we wanted to work with on this new issue, but applying it to the world of architecture seemed hard at first when all we could think about was Sushi. If I were to ask you how RAW relates to architecture, I imagine your immediate thought would be of natural materials such as wood, stone and rammed earth. This was the case for one of our writers who in her Material Perception article explores how materials can be manipulated to affect emotion and space. If I asked you to think harder you might think of exposed structures being the purest sense of architecture; steel frames, concrete slabs

JULIA KAPINGA EDITOR

and all that jazz. The case study on page 40 explores a building that is RAW in the sense of its structure, its style and its use, a building that is also very close to home, the architecture faculty. If you are more of a deep thinker then another interpretation could be the removal of architects completely. The Architecture without Architecture review looks to the vernacular and questions just like this. This issue is larger than its predecessors and with it brings new and quirky articles like our KOT series, which give a snapshot into student life. Within this issue you can also find an interview with the students who were responsible for the large amounts of tape in the shape of floor plans stuck outside the faculty. The Delft 1 to 1 article is of my favourites because of the way it has been left unedited and it helps that the content is pretty interesting too. This edition is our first as the team of 20162017. Please note spelling mistakes and misplaced images are obviously intentional, all done to be in keeping with the theme. Finally, I would like to say a huge thank you to the committee and all of the contributors who have worked extra hard to include plenty of RAW articles for you to get your teeth into.//

NINA VAN LIEBERGEN EDITOR

MENNO MEIJNERS QQ

DIANA SMILJKOVIC EDITOR

BASIA VAN VLIET EDITOR

BO WIELDERS LAY-OUT

UPCOMING EVENTS

18 May: Annual party for all the first year students of the faculties of Architecture and the Built Environment and Industrial Design.

PARTY

2 - 5 June: Over the course of four days, we will travel along a couple of projects by car and talk about them over marshmallows by the campfire.

RALLY

CHAIRMAN'S

5 - 8 May: This weekend, a group of students will travel to Helsinki, where they will discover the architectural beauty of Finland’s capital city.

TRIP

123

note

When the previous edition of pantheon// came out, we had just started the 123rd year of Stylos. By now, we are at full speed: the third edition of BAU (Business at University) is just behind us, new committees are starting and, of course, the brand new pantheon// is a fact! In this Chairman’s Note, I want to introduce some other projects that we have been working on for the past half year. One of the projects that has a big influence on this Stylos-year is the Stylos Pavilion. Taking on this project in the first half of this year proved to be a very time and energy consuming task. The team worked very hard to realise it in time and, looking back at it now, we are really proud of the result. See for yourself in front of the Aula and let us know what you think. The many positive reactions and good publicity we have received so far are contributing to a pleasant feeling of accomplishment. It’s good to see that, after a long time, Stylos has built a pavilion again. Just like in ‘the old days’!

TRIP

Just one last thing: if you have a cool project or initiative, our doors are always open!//

17 July - 7 August: This summer, Stylos will travel to Dubai and China for three weeks. We will investigate the urban development of the Chinese metropolises and get to know the Chinese habits.

MZN

Another new spirit in the air: the first Stylos Design Contest proved to be very successful! The ‘Bunkermuseum Den Haag’ will soon have a new location, with an all-student designed interior and experience. In the meantime, a new contest has already been opened. The design for the temporary CoCreation centre at The Green Village will also be fully designed (and realised) by Stylos-members!

6 July: On the last Thursday of the year, we will celebrate another succesful academic year. Together with your fellow students, you are welcome to join for a beer and make a toast on the summer.

Coen de Vries Chairman of Board 123

STEEOWEE

18 - 20 August: During one of the last weekends of the summer, the first year bachelor students will get to know life as a student in Delft during the annual introduction weekend.

Julietteâ&#x20AC;&#x2122;s iPhone 5s

@MECANOO Francesco Veenstra is partner bij Mecanoo architecten en geeft leiding aan de vestiging in Manchester. Hij was verantwoordelijk voor het ontwerp van het Kaap Skil, museum van jutters & zeelui op Texel. Sinds 1995 werkt hij bij Mecanoo aan architectuur met betekenis voor de mens. Dit maakt hem de aangewezen persoon om ons over de rauwe stijl van Mecanoo te vertellen.

Wat is de stijl van Mecanoo? En is deze veranderd sinds je er werkt? Alhoewel we altijd zeggen dat we geen stijl hebben, is er wel een duidelijke houding binnen het bureau. In onze ontwerpen richten we ons op de beleving van een gebouw of ruimte en zorgen we dat we architectuur maken waarin mensen met veel plezier kunnen wonen, werken of leven. Maar waar tien jaar geleden het accent lag op hele verfijnde detaillering en ingewikkelde combinaties van materialen, is de ontwerpstijl van Mecanoo nu simpeler in de detaillering en toch rijker in z’n ruimtelijke verschijningsvorm. Kaap Skil is hiervan een goed voorbeeld: het gaat over de combinatie tussen binnen en buiten en hoe het exterieur van het gebouw een belangrijke rol speelt in de ervaring van de activiteit binnenin. De activiteit centraal stellen vanuit de mens, de gebruiker, is een leidend thema geworden in de architectuur van Mecanoo. Je hebt aan de Rotterdam Academy of Architecture gestudeerd en niet aan de TU Delft, zoals de meeste lezers van dit tijdschrift. Aangezien je in Delft werkt en omringd bent door studenten van de TU, ben ik benieuwd of er wezenlijke verschillen zijn tussen deze twee instellingen en hun studenten? Er werken inderdaad veel mensen bij Mecanoo die aan de TU Delft gestudeerd hebben. Ik ben de enige van alle partners die niet op de TU heeft gezeten. Het grootste verschil dat ik zie, is dat academische studenten vaak een meer technische achtergrond hebben. Wellicht omdat ze hun studie naast hun werk doen. Ik zelf heb uiteindelijk zes jaar over mijn studie gedaan, maar ik deed dat naast een fulltime baan. Als je naast je studie werkt, kan het zijn dat je niet gelijk als architect bezig bent, maar als Revit-modelleur of techneut. Maar je krijgt wel mee wat er op een bureau gebeurt. Als er talent is om te ontwerpen dan gaan studenten in de beroepspraktijk op een gegeven moment mee met het team en zal ook hun ontwerpvaardigheid zich verder ontwikkelen. Naast je fulltime opleiding

en fulltime baan heb je ook nog je privéleven. Je combineert dus eigenlijk drie vrij intensieve activiteiten met elkaar. Op het moment dat academiestudenten de opleiding hebben afgerond, zijn ze in ieder geval in bezit van een ‘brevet’ voor het omgaan met deze complexiteit. Dit in tegenstelling tot de TU-studenten die vaak nog helemaal geen ervaring hebben gehad met het combineren van een baan en studie. Als je eerst drie jaar gaat studeren en dan bij een bureau terecht komt, heb je gewoon geen idee wat je overkomt. Beiden hebben voordelen, maar ze leveren wel verschillende soorten architecten op, daar ben ik van overtuigd. Kaap Skil, wat was de visie of bedoeling voor het gebouw? Kaap Skil is een heel klein museum op Texel dat jaarlijks veel bezoekers trekt. Hoewel de vaste tentoonstelling beperkt is, vertelt het een interessant verhaal over de periode van 400 jaar geleden. In die tijd meerden VOC-schepen af bij de Reede van Texel voordat ze naar Oost-Indië voeren. Voor het museum werd een grote maquette van 4 bij 12 meter gebouwd van de Reede van Texel en deze moest ergens gehuisvest worden. Zonder een PvE en alleen met de vraag om deze maquette een plek te geven, is toen een architectencompetitie gestart. Mecanoo’s voorstel was om een schatkamer te maken voor die maquette, waarbij met behulp van licht, geluid en projecties het verhaal van deze belangrijke periode kon worden verteld. Daaraan gekoppeld wilden we een gebouw maken waarin ook het andere deel van de collectie van het museum een plek zou krijgen, het juttersdeel. Jutten is het vinden van spullen op het strand. Net als de maquette van de Reede vertellen deze gevonden objecten ook een verhaal over wat er op zee gebeurt. De ontwerpgedachte was om de bezoekers het gevoel te geven alsof zij zich onder water bevinden. Dit wilden we bereiken door het hele gebouw transparant te maken en de gevel zodanig te bewerken dat de permanente beweging van het licht de beleving van

BASIA VAN VLIET

de bezoeker kon beïnvloeden. We deden daarvoor het controversiële voorstel om de maquette in het donker in de kelder te zetten, en de voor licht en zuurstof gevoelige objecten in vitrines in een ruimte met daglicht te plaatsen. Zo ontstaat het gevoel alsof de objecten door de ruimte zweven. En hebben jullie dit doel bereikt? Ja, absoluut. We hebben sterk ingezet op de beleving in het gebouw en dat is ook gelukt. Daarnaast hadden we nog een ander doel, namelijk de acceptatie van de bewoners. Het museum staat in een klein traditioneel vissersdorpje met eilandbewoners die allemaal een hele duidelijke mening hebben over wat goed is. We ontwierpen daarom een gebouw dat weliswaar uitstraalt dat het een museum uit de eenentwintigste eeuw is, maar tegelijkertijd qua vormentaal aansluit op de structuur van het dorp. Het is dus wel een grotere pixel in het straatbeeld, maar wordt door middel van de speelse aaneengeschakelde puntdaken opgenomen in de dorpse omgeving. Je CV geeft aan dat je jouw visie baseert op onderzoek en analyse. Was dat ook zo bij dit project? Al onze projecten hebben componenten van onderzoek en analyse, maar ook altijd van intuïtie. Er zijn altijd intuïtieve aspecten in een ontwerp aanwezig. Die gaan over schoonheid, ervaring en het referentiekader. Door deze intuïtieve aspecten te koppelen aan analyse, feiten of bevindingen, kom je uiteindelijk uit bij een ontwerp. Die combinatie van gevoel en ratio is essentieel in ons ontwerpproces. Tegen welke onverwachte dingen zijn jullie aangelopen tijdens het ontwerpen realisatieproces van Kaap Skil? Al vanaf dag één moesten de bewoners niks hebben van dit project. In mijn ogen was de enige oplossing hiervoor om de buurtbewoners te betrekken bij het ontwerpproces. Ik heb toen de suggestie gedaan om een aantal architectuurworkshops te organiseren voor omwonenden, om ze mee te nemen in het ontwerpproces. Want je kan wel zeggen, “ik vind het allemaal lelijk” en “ik wil het niet”, maar neem dan ook de moeite om te snappen dat er een behoefte is bij de opdrachtgever en dat er uiteindelijk toch een oplossing zal moeten komen. Na drie sessies van anderhalf uur begrepen de mensen waar het over ging en dat ze geen goede reden hadden om

er tegen te zijn. In dat opzicht lijkt het een beetje op de politiek, waar mensen zich niet in de materie verdiepen en dan toch van alles beginnen te roepen. Was dit het oorspronkelijke ontwerp? Of zijn er nog aanpassingen gedaan? Nee, dit was niet het oorspronkelijke ontwerp. We zijn begonnen met het idee van een onderwaterwereld, de grote verzameling aangespoelde flessen van het museum inspireerden ons om de gevel van getextureerd glas te maken. Dit wilden we doen door de flessen te smelten en daarvan gevelpanelen te maken. De inconsistente structuur zou het licht doorlaten op een vergelijkbare manier als de golven aan het wateroppervlak dat doen. In het proces met de omwonenden is dit concept gesneuveld. Hoewel ze uiteindelijk wel de noodzaak van een licht gebouw en de vorm ervan begrepen en accepteerden, ging het hun te ver dat het gebouw helemaal van glas zou zijn. Toen zijn we opnieuw op zoek gegaan naar een

‘Die combinatie van gevoel en ratio is essentieel in ons ontwerpproces.’ materiaal dat iets te maken had met de relevantie van hergebruik en duurzaamheid. We kwamen op het idee om de glazen gevel in te pakken met gebruikt materiaal. In dit geval hout van een dertig jaar oude damwand. Hoewel deze planken te oud waren om nog in het Noordhollandsch Kanaal te gebruiken, waren ze sterk genoeg voor hergebruik. Er zijn lamellen van gezaagd en deze zijn verticaal voor de glazen gevel geplaatst. Met een ander materiaal en uiteindelijk ook met een andere uitstraling van het gebouw, is toch de beleving ontstaan die wij voor ogen hadden. Vind je dat het project past bij het thema ‘raw’? Jazeker, bij Mecanoo kiezen we vaak voor de puurheid van materialen en het gebruik van de materiaaleigen eigenschappen. In dit geval zijn dat hout zonder coating, dat onder invloed van het weer zichzelf verkleurt, en betonnen vloeren. De vloer op de begane grond is bestraat met klinkers, waardoor de buitenruimte in het gebouw wordt doorgetrokken en er een soort overdekt plein ontstaat. Dit soort keuzes in materialisering passen volgens mij heel goed bij het begrip ‘raw’.//

GUSTAV KJÆR VAD NIELSEN

BRUTALISM Two Brutalist Buildings on TU Delft Campus Two Brutalist Buildings on TU Delft Campus is a collection of six photographs taken by architecture student Gustav Kjær Vad Nielsen during his bachelor exchange at TU Delft, Faculty of Architecture and the Built Environment.

The photos depict key moments in his immediate experience of two great brutalist buildings on the TU Delft campus: the Aula from 1966 designed by Dutch office Van den Broek en Bakema and the Faculty of Applied Physics from 1963 designed by Dutch architect P. Verhave. The photos are taken with a Huawei P9 Lite smartphone with monochrome filter.//

STUDENT VS TEACHER

Ambition: an earnest desire for some type of achievement or distinction and the willingness to strive for its attainment. Ambition can be associated with many difficult qualities when getting out of hand. However, if used in the right way, it is the sole driver that distinguishes the difference between a fulfilled career and a satisfactory one. It is through ambition that one can persist with one’s aim and embrace all experience undergone as a learning one. To further delve into the topic of ambition, we interviewed Javier Arpa of The Why Factory (T?F) as well as T?F student Roel Schiffers to view how ambition is shaped through time. Celebrating T?F’s ten year anniversary, it seems right to review its successes and consider the influence of ambition on this success.

Javier Arpa The research and education coordinator of T?F tells us about how his own ambitions and motivations during his life and how this influenced him to work at T?F. The think tank studio entails many activities that require management and coordination, which is what composes most of Javier’s responsibilities next to teaching. “You better have a lot of ambition,” is the first thing Javier says when we ask him about his ambitions. “The more the better, it is super important. You have to try to follow them, to fulfill them. There are many ways in which our careers can develop; you leave university with a certain view of the profession and that view changes during live, so your ambitions will change, too. I left the faculty of Architecture and the Built Environment – I also studied here in Delft – thinking I would be a designer and that I would work for a firm. That changed very quickly. I figured out that I was more interested in research, publication, curatorship on contents of architecture and dissemination of architecture. At first, I worked for several firms, but soon I realised that I was more interested in joining an architectural publisher. There I could do research about urbanism, about the city.” University provides the students with a glimpse of the possibilities out there, so that the students have an aid in deciding what they want to do. “You have to let the

students know about everything: the school is a big box from which the students can pick from. The good thing of Winy Maas – the founder of The Why Factory – is that he is interested in a lot of things and has a lot of concerns. T?F can fulfil a big part of my ambitions. For me it links teaching and research by design and I can do research, work with students and organise exhibitions simultaneously. You are never fulfilled, you always want more. But this takes a wide area.”

''I made my career, I am a little bit more careful. Not less ambitious, but more relaxed.'' “Now that I am older, I think I am more relaxed when it comes to fulfilling my ambitions. When you are a student, you have to be super ambitious. You have time to spend, you can try a lot of different things, you can make mistakes. And if you realise that something is not for you, you still have time. It will be useful in the future. I made my career, I am a little bit more careful. Not less ambitious, but more relaxed. After 20 years, I am more sure of what I want. When I left school I had no idea. What I wanted to learn from those offices I worked for, was where I wanted to go. They let me understand what my passion was (research) and I started teaching. That is what I love. It is how to gratify yourself. That is what makes me happy.”

NINA WAGENSVELD VAN LIEBERGEN DIANA SMILJKOVIC

Roel Schiffers The T?F student explains that what inspired him to apply to The Why Factory was the idea of going past practical architecture and look into the analytical side of the subject. Upon entering, he valued greatly the amount of freedom on choosing topics – he was urged to pursue his own topic of interest. This in itself helps the students to develop themselves into their own person, it gives leeway for developing an understanding of their own interests, which then acts as a driving force towards their own ambitions and enables them to discover what exactly it is that the students want to aim their ambitions towards.

‘’In ambition, it is the individual that actively researches and develops the self.” Roel carries on by stating that the T&F studio never fails to present the students with a finding the right direction and to start a debate. This way, the students can exercise the ability of arguing their ideas and beliefs and find the topics of their motivation. In these two aspects, students should find a balance that shapes their ambitions in correspondence to the content of the studio. By forcing the students to be critical, it helps them to back up and contemplate on what they are doing. Whether they are following their ambitions, or if they need to further develop their concepts. This environment of analytical diversity provides a platform

that helps the students to observe and research not only their own topics but also the interests of others. By doing so, the students will naturally broaden their scope. The diversity and comparison of findings keep the students attentive and in a constant flow of thought. Roel explains how refreshing it is to see architecture not only as a building, but also as a process. This aspect of T?F urges the student to focus on the research rather than the end result. By comparing this approach to his previous education in architecture, Roel explains how this prolonged process of research has shaped his understanding of the importance of a narrative and using this narrative as a tool. Considering his next step, he explains how T?F has made him appreciate logic more. It has helped him in developing the skill of explaining an idea in simple steps, of creating complexity through thought and of projecting its importance. However, it is of no use if one cannot express it to the audience. The Why Factory does not shape a future plan, nor an ambition. It pushes its students in one sole direction, while opening up many more things to consider, to research and to strive for. Roel concludes with the notion that, in ambition, it is the individual that has to be actively researching and developing the self.//

JULIA KAPINGA

Raw// The term ‘raw’ is broad and has an endless list of meanings. Raw can be applied in almost every situation and in every category imaginable. Raw means something different for every individual and this makes it a vague term. In the world of architecture, the word raw is often linked to material. Raw architecture can refer to buildings with open structures that truly show the materials that have been used. This means that if there is a steel construction, the steel is recognisable in the architecture of the building. This type of raw architecture is often referred to as true or honest architecture. Raw architecture can also mean that the materials are raw. Wood, steel and concrete are examples of materials that are often seen as raw. There are multiple styles of architecture that use these materials and thoughts, like brutalism. This architectural style mainly uses concrete and, more so, the mass of the material to make a statement. Raw is a frequently used term in the language of architects, so there is not an exact description of what raw architecture is. Another type of raw architecture is vernacular architecture, architecture without planning or design. This means that the building is only built for its fundamental purpose: a roof above one’s head.

Theorists use the word raw to explain, for example, the relationship between nature and mankind. The man behind this theory is John Ruskin, a 19th century art and architecture critic. Ruskin argues that mankind always needs to realise that it is part of something bigger (nature). Only when one understands that, one will be able to create great pieces of architecture and art. The word raw relates well to art. Art, however, is difficult to explain by using terms, since everyone has a different experience with art. Expressionism is a form of art that is often seen as raw. It is an art style that is highly involved with emotions and the way these emotions are expressed. The display of true emotion and reality. Not the rose-coloured picture, but the display of pain, fear, passion, intensity, despair. Rawness can also be found in sculptures. A great example of this can be found in Rotterdam: The Destroyed City by Zadkine is probably one of the best examples of raw sculpture. The pain and destructiveness of the war, displayed in a human-like figure, shows how Rotterdam was damaged. It literally and figuratively lost its heart, which is highlighted in the raw sculpture. Raw can refer to so many things, the term means something else for every individual. What does raw mean to you?//

Sonyaâ&#x20AC;&#x2122;s Zenit 11

Teamwork

BASIA VAN VLIET

makes the

dream work

This year the TU Delft celebrates its 175 anniversary with an 175 day birthday party themed “Technology for Life”. Starting on the 13th of January and ending on the the 6th of July, all sorts of activities will be organised across the campus for and by students, staff, alumni, companies and the city of Delft. As part of these celebrations, a team of seven driven students from the Faculty of Architecture and the Built Environment and of Civil Engineering have been working tirelessly during the past few months to provide the campus with a fitting birthday gift. Most of their work took place behind closed doors, or in this case fences, but as of the 13th of January the Stylos pavilion is open for anyone who wants to visit this magical project that lights up at night. You are invited to join the continuous creation of this piece of art, by writing something on it, leaving your mark behind.

Critically reflecting on the 175 years of existence of our university, it is clear that the technological innovations achieved in this period of time could not have taken place without collaboration and teamwork. By working together, a greater goal can be achieved. As the famous saying goes, teamwork really does make the dream work. To realise this innovative outlook on technological innovation, the team has chosen to design the pavilion around the theme ‘the whole is greater than the sum of its parts’. With this, they want to highlight the importance of teamwork and cooperation between individuals with different backgrounds and experiences for future developments. Only when multiple people from various fields of expertise bring their knowledge to the table, one solid idea can be formed. The same goes for the pavilion, which is constructed out of multiple smaller parts that, combined, create an impressive whole. A single element symbolises an idea, person, technology or year and some parts represent the faculties of the TU Delft as well. Cooperation between them makes the university such a well-oiled machine.

As the aforementioned theme for the anniversary is: ‘Technology for Life’, the team also wanted to visualize the impact technology has on our lives and in particular our future life. The theme suggests that people can contribute to a better life for themselves through technological developments. Trying to visualise this, the pavilion team asks everyone to leave something there, as a symbol of each and everyone’s contribution to a better future. This way, the pavilion will be by and for the people. Considering the future, it was vital to integrate sustainability into this project. Most of the materials will be brought back to the suppliers by the end of this celebration, who can then reuse them. Consequently, there will be no waste produced in the making and showcasing of this project. It goes without saying that, to experience this piece of artwork and the vibe created by it and the people, one has to be there in person. Which is why I strongly invite you to step on to the platform in front of the Aula that you probably cycle by every day. Take the chance and let this ever-changing project leave an impression on you.

Lezingen over ‘Circular Economy’ en het Prêt-a-Loger project van de TU Delft; Inspiratie opdoen op tentoonstelling van Olafur Eliasson; Modellen brainstormen, discusseren, schetsen, meetings houden; Ontwerpprincipes en eisen opstellen.

Opsplitsen in teams; Ontwerpteam: onderzoek ontwerp- mogelijkheden, locatie, materialen; Managementteam: begroting planning; Externe betrekkingen: logo, informatie- folder, contact met bedrijven

24 OKT

Gesprek met Andy van den Dobbelsteen en Maarten Meijs over duurzaamheid en materialen; Vergunningsaanvraag; Vorm ligt vast, nu ligt de focus op materialen.

20OKT

17 OKT

Persoonlijke begeleiding voor ieders specifieke functie; Case study om samenwerking te verbeteren.

10 OKT

26 SEP

5 SEP

19 SEP

PROCESS

Verhaal achter paviljoen vaststellen; Onderzoek naar constructie, energieverbruik en mate van interactie van gebruikers met het ontwerp.

Goedkeuring ontwerp; Boodschap concretiseren en promotie manieren onderzoeken; Prototyping. Bezoek aan bedrijven en Dutch Design Week op zoek naar materialen en inspiratie.

PEOPLE Jeroen – building engineer Wat waren de spannende momenten? En zijn er nog dingen veranderd aan het ontwerp gedurende de realisatie van het paviljoen? Aan het begin van het ontwerp hadden we het idee om roosters van kunststof te gebruiken. Deze roosters zijn ontwikkeld om offshore te gebruiken en ze zijn corrosieresistent. Helaas wilde geen enkel bedrijf ze aan ons verhuren. Er zitten aan deze roosters namelijk scherpe randen, die zorgen dat je niet uitglijdt maar tegelijkertijd makkelijk afbreken als je eroverheen loopt. Hierdoor zouden we de roosters niet als nieuw kunnen teruggeven, wat wel een van onze uitgangspunten was. Daarom hebben we uiteindelijk voor de stalen roosters gekozen, wat ons veel geld heeft gekost. Achteraf zijn deze stalen roosters een goede keuze

geweest wat betreft de beleving van het paviljoen. Samen met de aluminium kolommen reflecteren de roosters het licht op een hele interessante manier. De materiaalkeuze van de kolommen is tijdens het ontwerpproces ook veranderd. We begonnen met het idee om houten kolommen te plaatsen, tot Jack Breen [universitair hoofddocent van de Vormstudie-afdeling, red.] ons eraan herinnerde dat hout altijd vervormd. Hij stelde voor om aluminium te gebruiken. Na nader inzien was dit net zo duur als het hout en beter bestand tegen weersomstandigheden. Vanaf dat moment zijn we met aluminium kolommen verder gegaan. Nog een tip, het ultieme moment om het paviljoen in volle glorie te beleven is wanneer de zon volop schijnt of juist als het donker is.

Deelname aan lichtjesavond met korte animatie van Onno Gieling over het ontwerp.

144 Led-strips aan kabels solderen, lichten testen, uitnodigingen versturen, posters verspreiden.

Vloeren leggen, prefabricatie aluminium palen afronden; Voorbereidingen treffen voor opening. Prefabricatie 600 aluminium Materialen bestellen, logo uitwerken, profielen; werkplaats zoeken, aannemer Foto’s voor promotie maken; contacteren, lichtplan maken. Prototype in BK city.

Menno – begeleider vanuit bestuur Hoe zag dit project eruit vanaf de kant van het bestuur? Het was voor ons erg zoeken naar de betekenis van ‘een paviljoen neerzetten’. Het is een groot experiment. Je gaat met z’n allen brainstormen, bedenkt een opdracht en dan komt er een team die daar een eigen invulling aan geeft. Over het algemeen heeft het me echt heel veel energie gegeven en ook veel opgeleverd. Telkens als er een besluit werd genomen en het aan het bestuur werd gepresenteerd, voelde het alsof je een adventskalender opende. Het is ook echt bizar dat het allemaal in zo een korte tijd is gebeurd. Waarom hebben jullie eigenlijk gekozen om een paviljoen neer te zetten?

Lijmen, schuren verven van kolommen, houten balken zagen, vloer in elkaar zetten.

Het paviljoen is tot 6 juli te bezoeken om iets achter te laten en te zien wat dit fantastische team bereikt heeft.

We vonden het vooral belangrijk dat het project veel aandacht zou trekken en we wilden dat het met bouwkunde te maken zou hebben. Daar is het concept ‘paviljoen’ uit voortgekomen. Verder vonden we het interessant om een keer vanaf het begin tot het einde een architectonisch project uit te werken. Bij bouwkunde maak je heel vaak de eerst twee stappen mee: bedenken en ontwerpen. Daarna houdt het (meestal) op. Tijdens dit project hebben we geleerd dat er meer keuzes te maken zijn dan alleen die vanuit het oogpunt van esthetiek of draagconstructie. Ook keuzes met betrekking tot de prijzen en toepasbaarheid van materialen zijn vraagstukken die komen kijken bij de realisatie van een project. Je komt erachter dat er nog heel veel meer stappen tussen het ontwerpen en het daadwerkelijke bouwen zitten en dat veel van de dingen die je wilt, niet eens kunnen.//

v.l.n.r.: Eleni Michael, Vera van Maaren, Jeroen Wassing, Linde Jorritsma, Carlijn Beerepoot, Jill van Remund en Cas de Heij

6 JUL

13 JAN

26 DEC

19 DEC

Opening van het paviljoen

12 DEC

Voorbereiden deelname aan lichtjesavond; Brainstormsessie over de Living Campus en het International festival of Technology bijwonen; Bouwlocatie vrij maken.

5 DEC

28 NOV

21 NOV

7 NOV

Afspraak met lustrumcommissie; Bezoek aan onderzoeksafdeling van Philips Lighting in Eindhoven.

Gavinâ&#x20AC;&#x2122;s KOT Gavin is in his this third year of architecture and lives in the Northeast of Delft with four other students in a small house. On the background photo, he is pictured in the courtyard, where he and his roommates like to keep their beer and many shopping trollies.

OLIVIA HARRISON

As you can see on the full page picture on the left, the neighbouring house is quite run down. According to Gavin, the woman who lives there is quite a colourful character. Luckily, the garden of the house is secluded. The image on the left shows Gavin’s bedroom, which was once a small storage room at the bottom of the garden. He never bothers to cover the small skylight and uses the daylight instead of an alarm clock.

Institute for Biological Studies, la Jolla, California 6

Gavin says that he likes to play the piano as a break from work, but it is often used as an extension to his overcrowded shelves. In the kitchen you can tell the house has a very strict recycling ethos as they even go as far as to wash up the beer pong cups and reuse them, cudos. Lastly the living/dining area, a really cool space with a large fireplace, world map, homemade alcohol and a stencilled table. The fireplace is fuelled by one housemate’s job as a newspaper boy. Gavin: “as long as he has that job we have some warmth.” The large world map behind Gavin comes into conversation a lot and people point to it as if giving a lecture.

SOURCES

Finally, the stencilled table is my favourite piece in the house, the patterns are a representation of the home’s Gavin has lived in.//

VERA KOSTER

WRANGE SCHOONHEID Schoonheid is een kwestie van perceptie. De perceptie waarmee iets wordt ervaren is niet alleen persoonsafhankelijk, maar ook aan de tijd onderhevig. Door populisme kan een eerdere negatieve ervaring veranderen naar een waardering voor bijvoorbeeld een gebouw. Een nieuwe stijl ontstaat vaak als tegenreactie op een eerdere stijl. Bij het ontstaan van zo’n stijl zijn er vaak heftige reacties, omdat men vasthoudend is en moet wennen aan verandering. Zo is het expressionisme bijvoorbeeld een tegenreactie op het impressionisme, maar vloeit het brutalisme juist weer voort uit het modernisme. Behalve in de bouwkunst is dit fenomeen ook te herkennen in andere artistieke uitingen zoals in muziek. Ook hier zijn stromingen en stijlen die continue veranderen, op elkaar reageren en onderhevig zijn aan de tijd. Een mooi voorbeeld hiervan is Le Sacre du Printemps van Igor Stravinsky. Dit stuk functioneert als het begin van een nieuwe stijl, net zoals de Unité d’Habitation het tijdperk van het brutalisme inleidt.

Le Sacre du Printemps Dit ballet gaat over een jonge maagd die zichzelf de dood in danst als offer voor de Zonnegod. Alhoewel dit een prehistorisch onderwerp is, was de muziek voor die tijd zeer modern. Stravinsky wilde met dit stuk de schoonheid en oorsprong van de aarde laten horen, hoe mooi maar ook hoe weerbarstig het kan zijn. Door voor het eerst de ritmiek centraal te stellen in plaats van de klank en melodie werd het stuk heel verschillend ontvangen. Door de ruime aanwezigheid van maatsoortwisselingen en onverwachte accenten in de compositie is het ruwe muziek. De muziek was niet te vergelijken met wat er voor die tijd werd uitgevoerd en ging tegen alles in wat men op dat moment als schoonheid ervaarde. Hierdoor ontstonden er rellen die zo erg waren dat de muziek van het stuk bijna niet meer te horen was. De dans in het ballet is woest en onconventioneel, de muziek klinkt weerbarstig en onrustig. Toch, wanneer er langer wordt geluisterd en men de achtergrond van het stuk begrijpt, kan er schoonheid worden ontdekt. Bij elke uitvoering werd het stuk meer gewaardeerd en inmiddels is het niet meer weg te denken uit de muziekgeschiedenis. De expressie die zich in die tijd in de muziek bevond is ook terug te vinden in een van de architectuurstromingen. Op het moment dat de Sacre in première ging in mei 1913, was in de bouwkunst het expressionisme op komst. Deze stijl gaf ruimte

om gevoelens en ervaring te verbeelden door een vervormde werkelijkheid weer te geven. Het brutalisme daarentegen wilde juist zo dicht mogelijk bij de oorsprong blijven door ruw beton te gebruiken en niks weg te werken. Brutalisme De Unité d’Habitation maakte oorspronkelijk deel uit van een reeks van complexen. Het is een sociaal project waarin men in een horizontale tuinstad komt te wonen. De vormgeving van het gebouw is ruw en straalt een gevoel van kracht uit door het beton en de zichtbare bekistingslijnen. Dit is bewust zichtbaar gelaten om zo dicht mogelijk bij de oorsprong te blijven. De manier waarop dit gebouw daardoor wordt ervaren is in eerste instantie functioneel, maar niet mooi. Toch zit er wel schoonheid in het principe van het ontwerp en door de gedachtegang die erachter zit wordt het gebouw gewaardeerd. De manier waarop een kunstvorm wordt gepresenteerd brengt dus verschillende emoties met zich mee. De ervaring van een muziekstuk of gebouw kan dus veranderen door de tijd heen. Dit wordt ook beïnvloed door de kennis die men heeft van de achtergrond.// SOURCES 1

Toorn, P.C. van den (1987). Stravinsky and the Rite of Spring: the

beginnings of a musical language. Oxford: University of California Press. 2

Cohen, Jean-Louis. (2009). Le Corbusier. Köln: TASCHEN.

ArchDaily. (2010). AD Classics: Unite d’ Habitation / Le Corbusier.

http://www.archdaily.com/ 4

Mens en Samenleving. (2006). ‘Le Sacre du printemps’ als uiting van

Modernisme. http://mens-en-samenleving.infonu.nl/ 5

Kruijff, J. de. (z.j.). STRAVINSKY: SACRE DU PRINTEMPS, LE.

http://www.quadrevisie.nl/

ARCHITECTURAL PHOTOGRAPHY CONTEST Are you interested in architectural photography and willing to put your skills to the test? MediaCo and pantheon// are teaming up to organise an architectural photography contest with the theme:

MIND The deadline will be before the end of June. Prices include an interview and exposition in the next pantheon//. More information to follow soon. Interested? Check out www.stylos.nl

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Deze woorden staan voor wat we doen en vooral ook hoe we het Met als filosofie: Met elkaar, voor elkaar! doen. Om met het wat te beginnen: alles op het gebied van gedr Deze woorden staan voor wat we doen en in vooral ook hoe we het mail, geprinte en digitale communicatie combinatie met doen. Om met het wat te beginnen: alles op het gebied van gedrukte, fulfilment, warehousing en logistiek. geprinte en digitale communicatie in combinatie met mail, Met professionals die ook interim, gedetacheerd of als consulta fulfilment, warehousing en logistiek. voor u aan de slag kunnen. Met professionals die ook interim, gedetacheerd of als consultant voor u We aan zetten de slag kunnen. Hoe? de lijnen uit, adviseren, regisseren. Met maar é Hoe? We zetten de lijnen uit, adviseren, Met maar één doel voor ogen: het realiseren vanregisseren. uw communicatiedoelstelling doel voor ogen: het realiseren van uw communicatiedoelstellingen.

www.kds.nl www.kds.nl

Laan van Zuid Hoorn 60 • 2289 DE Rijswijk

Laan van21Zuid 60 •• 2289 DE Rijswijk (070) 308 21 • Hoorn info@kds.nl www.kds.nl (070) 308 21 21 • info@kds.nl • www.kds.nl

the

PRITZKER Frank Gehry, Renzo Piano, Glenn Murcutt. All famous names of solo architects whose personal take on architecture still has a large influence on the urban developments we see today. However, it may seem as this solo architecture era is over, as for the first time the Pritzker prize has been awarded to a team of three architects. As Thomas J. Pritzker, the chairman of the Hyatt Foundation remarks himself: “The intensely collaborative way of working together for nearly three decades, where the creative process, commitment to vision and all responsibilities are shared equally, led to the selection of the three individuals for this year’s award,” adding: “Mr. Aranda, Ms. Pigem and Mr. Vilalta have had an impact on the discipline far beyond their immediate area.” The three architects, originally from Olot in the Catalonian region of Northeast Spain, have worked together collaboratively since founding their firm RCR Arquitectes, in their hometown in 1988. Resisting the call of the metropolis in favour of remaining closely connected to their roots may be the reason why the architects are not widely known.

El Petit Comte Kindergarten, Basalú, Girona

Barberí Laboratory, office of RCR Arquitectes in Olot, Spain

Nevertheless, they came to the attention of the Pritzker prize jury. “Their works admirably and poetically fulfill the traditional requirements of architecture for physical and spatial beauty along with function and craftsmanship, but what sets them apart is their approach that creates buildings and places that are both local and universal at the same time,” the jury report said. Their works range from public and private spaces to cultural venues and educational institutions and their ability to intensely relate the environment’s specific to each site is a testament to their process and deep integrity. The La Lira project (2013) in the Spanish Ripoll is a perfect example of how their works relate to the environment they are set in. The project consists of a bridge leading to an urban void in the city walls that used to house a theater. The square is connected to the neighbouring buildings by a frame and, therefore, does not lose the spirit of the theater and the possibility for people to interact. Although the roof, walls and floor all have a different vibe to them, they are all made from the same material, corten steel. By making the space between the corten steel panels larger, the solid material becomes surprisingly light and airy.

BASIA VAN VLIET

Public space teatro La Lira, Ripoll, Spain

Materiality In its architecture, RCR Arquitectes tries to select only a few materials in order not to disturb the experience of space. Whenever possible, the architects select natural and authentic materials, with a lot of resistance and very different finishings. Within this uniformity of materials, but with different and subtle changes, they hope to create a framework for space that allows the space to emerge with greater strength: “We have believed in trying to do the maximum using the minimum,” says Pigem, “by using just one material, we hope to be able to create a very pure and positive atmosphere.” Beauty “We like to speak of creating atmospheres. We have always tried to create architecture that makes people ’feel’ it, to evoke feelings and transmit a sensation of well-being and beauty. We like to speak of beauty. We believe in this – architecture that conveys beauty,” explain Aranda. Nature and landscape have always been important for the three architecture friends. Being surrounded by it from an early age has taught them a lot, making their relation with it frank and direct. Nature has instilled many of the values that they have tried to apply to their architecture and their lives. It is a continuous learning experience. Community Community is another word that comes to mind when speaking of the work of Aranda, Pigem and Vilalta. Both in the bright and colorful El Petit Comte Kindergarten (2010) in Besalú in Girona and the Sant Antoni – Joan Oliver Library, Senior Citizens Center and Cándida Pérez Gardens (2007) in Barcelona, those who will inhabit the buildings are at the forefront of their concerns. It is obvious when seeing the rainbow colors of the tubes that define the exterior of the school that this is for children’s enjoyment, creativity, and fantasy. The library – like many of RCR’s projects the commission was won through a competition – is situated within the fabric of an existing city block, is a needed amenity in this busy part of Barcelona.

Visitors are welcomed into the library. The richness and variety of spaces invite exploration and are casual enough to create a relaxed and friendly atmosphere. The library also acts as a gateway to an interior courtyard. The senior citizens center looks onto this space where children, library visitors, neighbours and seniors can mingle.

“By using just one material, we hope to be able to create a very pure and positive atmosphere.” In other works, such as their own office (2007), a transformation of a former foundry built at the beginning of the 20th century, the juxtaposition of past and present is undertaken in a most thoughtful, clear and respectful way. Just as exterior and interior are closely intertwined in their works, so are new and old. All of the original industrial building that could remain, was left “as is”. By adding new elements only where needed and in contrasting materials, the architects demonstrate their love for both tradition and innovation. The resulting building, which they call Barberí Laboratory, is comprised of varied, flexible and highly functional spaces. While Rafael Aranda, Carme Pigem and Ramon Vilalta have a deep sense and knowledge of history, they use materials and modern construction to create spaces that could not have been created before. “They have demonstrated that unity of a material can lend such strength and simplicity to a building,” says Glenn Murcutt, Jury Chair. “The collaboration of these three architects produces uncompromising architecture of a poetic level, representing timeless work that reflects great respect for the past, while projecting clarity that is of the present and the future.”//

SOURCES

• Mairs, J. (2017) RCR Arquitectes wins Pritzker Prize 2017. Retrieved on 19 April from https://www.dezeen.com/ • The Pritzker Architecture Prize on https://vimeo.com/pritzkerprize

To our Dean Peter Russell, We, the undersigned, write to you in 2017 on the cusp of radical changes for our living world, culture, economy and society. We write to you out of conscience and a need for action. We ask you to make a choice. We ask you not to take one side over another, but to choose to create the platform we all need to thrive. To create a faculty where all members, students and staff, have equal opportunity. We need you to shape an academic culture that promotes awareness, inclusivity and actual solutions to the pressing problems we face as a biosphere and as a species. As the Dean of Architecture and the Built Environment at the TU Delft, you have the power to lead the way. You can use your influence in the profession, in society, in world opinion and in the built environment to promote models in education, research, management and in practice that benefit us all. We ask you to take heart, be brave and make an example. A diverse faculty, with a wealth of perspectives is vital for the resilience of our professions and academic life both economically and socially. Within the field of architecture which greatly affects society, biased thinking can be increasingly harmful. Through explicit and implicit biases, we limit not only others, but ourselves - whether you are a white able bodied man whom undercuts innovation and profitability of our organization by continually employing someone who looks and speaks like you, or a highly-gifted student who has been taught her whole life that she is worth less, and does not dare to take up space. It’s time to stop wasting talent. It’s also time we started getting a larger truth about the world and break the echo chamber of our own

normative assumptions. It must be clear where we are coming form in order to perceive our biases. It’s time to overcome the faulty historical constructs passed down to us and learn to think critically about our cultural backgrounds and agendas. We can decolonize our knowledge and our science and make room for a plurality of histories and approaches. This lucid, broad contextual thinking and methodology can allo w us to navigate complexity and cultural differences in order to create a more whole understanding of reality. We must learn how to respect one another because of, and not despite of our differences. We must gain an appreciation for how lived experience shapes what we know of the world, and how an appreciation of those differences in experience make us versatile and stronger as a group. Only by making habitual and ‘normative’ ways of valuing transparent to ourselves, people can become free to choose how to behave and think. For instance, most people in our culture have learned binary value systems like black and white, man and women, A diverse faculty, with a wealth of perspectives is vital for the resilience of our professions and academic life both economically and socially. Within the field of architecture which greatly affects society, biased thinking can be increasingly harmful. Through explicit and implicit biases, we limit not only others, but ourselves - whether you are a white able bodied man whom undercuts innovation and profitability of our organization by continually employing someone who looks and speaks like you, or a highly-gifted student who has been taught her whole life that she is worth less, and does not dare to take up space. It’s time to stop wasting talent.

TU DELFT FEMINISTS

3 27

It’s also time we started getting a larger truth about the world and break the echo chamber of our own normative assumptions. It must be clear where we are coming form in order to perceive our biases. It’s time to overcome the faulty historical constructs passed down to us and learn to think critically about our cultural backgrounds and agendas. We can decolonize our knowledge and our science and make room for a plurality of histories and approaches. This lucid, broad contextual thinking and methodology can allow us to navigate complexity and cultural differences in order to create a more whole understanding of reality. We must learn how to respect one another because of, and not despite of our differences. We must gain an appreciation for how lived experience shapes what we know of the world, and how an appreciation of those differences in experience make us versatile and stronger as a group. Only by making habitual and ‘normative’ ways of valuing transparent to ourselves, people can become free to choose how to behave and think. For instance, most people in our culture have learned binary value systems like black and white, man and women, We propose 2018 to be the year of Diversity and Gender Awareness in our Faculty. Change is not going to happen by itself and we need to kick off the new institutional culture in a big way and all pervasively. We’d like Diversity and Gender Awareness to be a focus point of every department from design, to theory and history, to computing and math. In the bachelor, in the Master, new PhDs and in our research programs. In this year, it should be the focus point for festivals, for management, for lectures, for the education board; for Human Resources and Marketing and Communication, and

in all the student associations. This will launch a new culture of inclusion from this point forward. In order to help implement this, with the opportunity provided by the Minister of Education Jet Bussemaker, a new ndependent Chair should be introduced in department of Architecture, (where underrepresentation in the chairs related to design is acute), for ‘Intersectional Design and Interdisciplinary Practice’. This chair will speak to the paradigmatic shift that has taken place in architectural practice since the economic crisis of 2008, by building direct bridges between education and practice. It will also will take on the task of inclusive, intersectional design. Providing a model for best practice here and abroad. In a banquet held last year on Gender Equity many members of the faculty from all departments, from Full Professor to PhD to Student to Researcher came together to discuss what we could do to address and implement inclusion in order to ensure the diversity we need. Next to the proposal for a New Chair and year of Gender Awareness and Diversity we have provided an action list with a summary of our requests for change. This is by no means an exhaustive list, it is intended as merely the beginning of a dialogue, and the first outlines of an action plan. Peter Russell, during the Town Hall Meeting in May 2016 you made a promise. A promise to support the cause of equal opportunity, inclusion, fair representation and diversity. We want to do everything in our power to enable you to meet that promise. As we expect you will do everything in your power to meet these goals. The Architecture Affinity Group of TU Delft Feminists

8th of March, 2017.

World´s building stock

vernacular

architecture Vernacular architecture characterises buildings, mostly houses, made from locally available materials. Its design is shaped by the local climate and reflects the regional culture and traditions whitout aesthetic pretentions.

vernacular made by an architect

The etymology The term vernacular is derived from the Latin vernaculus, meaning “domestic, native, indigenous”; from verna, meaning “native slave” or “home-born slave”

[ver-nak-yuh-ler, vuh-nak-] culture

climate

Reasons for building a home

shelter

materials privacy

environment

Influences on vernacular architecture

JULIETTE BROUWER

Dug out

Rondavel

Material: wood and straw Location: Slovakia Usage: half-excavated into the earth that serves as a thermal mass

Material: stone and straw Location: South-Africa Usage: home, is still being used in an upgraded version

Igloo

Goathi tent

Material: ice Location: Canada and Greenland Usage: temporary home in winter or hunting periods

Material: wood and canvas/animal skin Location: Scandinavia and Russia Usage: shelter accomodation

Blackhouse

Turf house

Material: stone and straw Location: Scottland and Ireland Usage: accommodation for livestock as well as people.

Material: turf Location: Iceland Usage: shelter accomodation

Architecture without Architects

Are architects necessary? Rudofsky’s Architecture without Architects imposed this question onto my highly impressionable mind before I was corrupted by the world of architecture. Now, three years on and reading this book with wiser (but definitely more tired) eyes, I am even more perplexed by this question.

Bernard Rudofsky wrote his book in 1964, mainly consisting of haunting black and white images of ‘architecture’ from around the world with explanations under each one. I use the word architecture here in quotations because these images all represent vernacular architecture in its purest sense. Architecture created by the people with an entirely form follows function approach even before Mies himself uttered the words thousands of years later. But this formal architecture that I describe, of course, is not the sleek steel and glass orthogonal masterpieces that we all know and love (or love to hate perhaps) today. Here, vernacular architecture is praised and, in its own right, it shows that even before architecture became a noun, architecture was created by everyone in creative and ingenious ways. Take the amphitheatres of Muyu-uray. These stunning landscaped are situated in Peru, lying between the great Machu Picchu and Cuzco. These amphitheatres were built by the Incas over 5000 years ago, but still, these ariel masterpieces are still

SONYA FALKOVSKAIA

of upmost relevance from organic facades to common model making techniques. These amphitheatres accommodated over 60,000 people. For a people who lived before the first ‘building’ was created, its creators have done well. Even though these amphitheatres are perhaps basic in construction, there is no denying the stunning beauty they hold when viewed from above as a whole. The Incas would not have been able to see the construction in its totality, but the fact that they could still create something like this is miraculous. Deep within the Chinese provinces of Honnan, Shansi, Shensi and Kansu, it is said that 10 million people lived in subterranean dwellings. They dug out caves below the field to create cooler, more habitable houses. Whilst doing so, purely driven by need for shade, they created a new typology - an inverted landscape. This example shows sophistication in form and composition when such things were never heard of. During the Othmanli (Ottoman) period of reign in Turkey, a Turkish bathhouse demonstrates a design akin to today’s parametric solutions. The ceiling arrayed with light wells creates a beautiful piece of architecture, while an architect is nowhere to be found. Even 7000 years ago such designs were already being produced under the radar. Now I pose the question again - are architects necessary? Rudofsky’s book continues to provoke this consideration as it presents beautiful examples of anonymous architecture.

At the time of these examples, technology was not yet developed and perhaps this allowed for the uninhibited development of such dwellings morphed by society as a natural process. Perhaps these raw images of soil and sticks are not seen as architecture by many, but in this case, we need to question ourselves: what really is architecture? Is architecture a reflection of the world around us in the form of space? Or has it become to be just supply and demand for the vast majority, with some added flare here and there? If many find it difficult to place these early architectures, amongst the plethora of other examples in this book, then maybe architecture as it is today has become so incorporated with technology that they can no longer be separated. Today, the public and its processes have become so diverse that there simply are too many ways to do the same thing. Before the dawn of technology and its immediate relationship with architecture, there were few, but nonetheless tried and tested methods to create aspects of the built environment. Perhaps this is why such inspired examples are shown, because there was more time and capability to ‘design’. Now, however, there is so much choice when making architecture that examples like these do not happen anymore. Craftsmanship is a trade that is being lost. But perhaps with books like Rudofsky’s, we will see what can be achieved without including today’s understanding of architecture and design.//

AISSATOU DIALLO

bath Three of our committee members study architecture and civil engineering at the university of Bath. In this issue we publish an article of their magzine, paperspACE.

7000 built it, the Calais Jungle Three months after its destruction, the Calais Jungle, an urban prototype, must remain proof of the need for architects in refugee camps.

“People come here and give us clothes, they give us food and they think that’s enough. It’s shelters we really need. You should see some of the things people stay in. We are human beings. This isn’t normal.” The young Sudanese refugee’s voice marked with anger and exhaustion, months after I left, still resonates in my head. In the end, it all comes down to our moral responsibility as architects; to use our skills and expertise to provide dignity, safety and basic comfort through decent shelters. The Jungle needed architects, refugee camps around the world still need architects. Before their eviction, an estimated 7000 refugees were living in the illegal refugee camp of Calais. They came from many parts the world, fleeing political instability. I had the opportunity to get to know some of them while volunteering for British charity Care4Calais. Most of them saw Calais as a transition point, the unwanted stop to go through before reaching perceived safety on British shores. On their way, these people have needs: Food which we brought, languages which we taught, but they also have architectural needs. Far from the chaotic misery depicted by mass media, a distinct organic urban fabric stunned me as I first set foot in the camp. In the North area, several building typologies and functions co-exist, residential, commercial, religious and social. Its main street is populated by all kinds of shops and restaurants, both made and owned by refugees. They vary in structure, wooden framed or large tents, but their bright colours and warmth all disseminate the same welcoming feel. My favourite was ‘3 idiots’, the Pakistani owned restaurant where you would always find volunteers and refugees sharing meals and stories. As we walk further east, we find the official residential containers, the sole

positive governmental contribution to the camp after their complete destruction of the South part. To talk about a refugee camp as a city inevitably challenges the necessity of permanency in urban settlements. Hardly temporary, camps last on average 17 years. Yet, in the face of urgency or government pressure, shelters are not designed to last. Refugee camps need to be rethought, shelter design needs to be readdressed to confront this reality. A great number of volunteers took part in the building of the camp. Most were not professionals of the built environment but, driven by the desire to help, donated their time to working hand in hand with the Calais community. However, to innovatively respond to the limits of the site, help from architects was required. Irish architect Grainne Hassett, founder of Calais Builds, provided it. Her work was crucial for the camp and its people. She recognised the importance of social spaces for the wellbeing of refugees, and designed for instance a women and children centre and several youth centres. Her work also included the development of a context responsive shelter design. She worked with students to address the limits of the camp: the natural forces with strong winds and vulnerability against floods, the illegality and strict interdiction to build anything permanent while working on a minimum budget. Three months after its destruction, the Calais Jungle, this urban prototype, must remain a proof of the need for architects in refugee camps. The camp might have been destroyed but the refugee crisis is far from over. Shelters need to be adapted, social spaces provided and architects engaged. Let’s help restore dignity.//

Boâ&#x20AC;&#x2122;s Olympus E-400

AUTHOR

De weg vervalt aan het betraande gebergte. nu sterft de gouden zon in zijn stoet het bloed verft alle bomen. in mijn gespleten bouwsels wacht ik en wacht het water slijpt zijn dodelijke pijlen - Cees Nooteboom

AUTHOR POTENTIAL 2ND AUTHOR

Shed your insecurities and reveal yourself to me so I can see each imperfection, cherish every flaw, get to know you from the inside out for my love is raw. - Christy Ann Martine

Nieuwe Hollandse Waterlinie VA N V E R D E D I G I N G S W E R K N A A R K U N S T W E R K

JULIA KAPINGA

Tot aan de Tweede Wereldoorlog was de Nieuwe Hollandse Waterlinie het belangrijkste verdedigingswerk van Holland. De Nieuwe Hollandse Waterlinie werd in 1815 aangelegd, omdat de oude linie niet meer voldeed. Het was een 85 kilometer lang, lijnvormige zone die door middel van sluizen en het doorbreken van dijken onder water kon worden gezet om de optrekkende vijand te verhinderen. De Hollanders hadden vervolgens genoeg tijd om hun eigen troepen naar het gebied te sturen en zich voor te bereiden op de aanval. Langs de waterlinie stonden forten vanuit waar men de situatie kon bijhouden en sturen. Ruim honderd jaar heeft deze waterlinie het belangrijkste gebied van Holland verdedigd. De Nieuwe Hollandse Waterlinie verloor haar functie onder andere door de komst van de luchtvaart en -bommen. Tijdens de Tweede Wereldoorlog werden er langs de waterlinie bunkers gebouwd, die onder andere als schuilplaats dienden tijdens bombardementen en nucleaire aanvallen. Inmiddels zijn ook deze bunkers verouderd en dus ook niet meer in gebruik.

In de gemeente Culemborg werd tot een aantal jaar geleden weinig met de geschiedenis van de waterlinie gedaan. De gemeente zag dit als een verloren kans en kwam tot de conclusie dat het verhaal van dit bijzondere erfgoed vertelt moest worden. Er werd een ontwerpteam gevraagd om de geschiedenis van de Nieuwe Hollandse Waterlinie te vertalen in het landschap. Dit team, bestaande uit de bureaus RAAAF en Atelier de Lyon, ontwikkelde de visie dat de Nieuwe Hollandse Waterlinie voor iedereen toegankelijk moest zijn. De geschiedenis wordt niet alleen gevormd door de forten die langs de linie staan, maar ook door

de bunkers die in gebruik waren tijdens de Tweede Wereldoorlog. Deze visie resulteerde in een ontwerp dat de bunkers onderdeel laat worden van de historie en het landschap. Hoogtepunt van het ontwerp is de doorgezaagde bunker aan de Diefdijk, wat een prominent aanwezig object is langs de drukke A2. Een indrukwekkende snede, die uitloopt in een steiger en later in een dubbele rij palen. De lijn die gevormd wordt refereert naar de hoogte van het water als het gebied onder water werd gezet. De doorsnede van de bunker laat zien hoe klein de ruimtes waren in de bunkers, vooral als de bezoeker zich realiseert dat hier soms tientallen mensen in schuilden. Het is een bijzonder gezicht dat aan de ene kant de onverwoestbaarheid van de bunker toont en aan de andere kant juist de menselijke kant. De gemeente Culemborg had de bunkers al op de erfgoedlijst laten plaatsen, maar na de doorsnede is de bunker aan de Diefdijk verklaard tot Rijksmonument. Bijzonder feit is dat de doorsnede deel uit maakt van de beschrijving van het Rijksmonument. Inmiddels staat de gehele Nieuwe Hollandse Waterlinie op de wachtlijst om aan de UNESCO Werelderfgoedlijst toegevoegd te worden.//

SOURCES • Hollandse Waterlinie. (2017). De Nieuwe Hollandse Waterlinie. http://www.hollandsewaterlinie.nl • Forten.nl. (2017). Nieuwe Hollandse Waterlinie. http://www.forten.nl • RAAAF. (z.j.). Bunker 599. http://www.raaaf.nl

Juliaâ&#x20AC;&#x2122;s Sony Alpha 5100

HUGO WIJDEVELD

INDESEM (International Design Seminar) 2017 staat voor de deur! Dit is een biënnale, georganiseerd door een groep studenten op de faculteit Bouwkunde van de TU Delft. Het programma van de aankomende editie bestaat uit lezingen, excursies en workshops, georganiseerd rondom een specifiek hedendaags thema. INDESEM kent sinds haar ontstaan in 1962 een rijke geschiedenis en is in 1986 nieuw leven ingeblazen door Herman Herzberger. Sindsdien zijn architecten zoals Aldo van Eyck, Adriaan Geuze, Rem Koolhaas, Wiel Arets, Ben van Berkel, Winy Maas, Daan Roosegaarde, Jean Nouvel, Shigeru Ban, Steven Holl, Greg Lynn, Peter Cook en Renzo Piano, en theoretici als Saskia Sassen, Bruno Latour, Anthony Vidler, Neil Leach en Michael Speaks voor dit evenement naar Delft gekomen.

lezingen te geven en workshops te begeleiden. Op de foto hieronder zijn Winy Maas (MVRDV) en Floris Alkemade (onze huidige Rijksbouwmeester) te zien terwijl ze druk bezig zijn met het bouwen van een gigantische boot die de hele voorgevel van de voormalige faculteit moest bedekken. Ook zij waren als Delftse architectuurstudenten fanatieke deelnemers van INDESEM en zagen deze week als een kans om hun creativiteit op een andere manier tot uiting te brengen.

Winy Maas en Floris Alkemade tijdens INDESEM 1989 Workshop tijdens INDESEM 2015

Aankomende editie zal plaatsvinden van vrijdag 26 mei t/m vrijdag 2 juni 2017. Tijdens deze week, met als thema ‘CROWDED’, focussen we ons op de snel groeiende wereldbevolking, de groei van de stad en de daarbij komende complicaties, zoals toenemende segregatie. Aan de hand van relevante lezingen en een doorlopend ontwerpproject krijgen internationale studenten en studenten van de TU de kans zich te verdiepen in deze urgente thema’s. De verschilllende edities van INDESEM hebben door de jaren heen voor grote bekendheid gezorgd onder architectuurstudenten van over de hele wereld. Dit is mede te danken aan de vele oud-deelnemers van INDESEM, waarvan veel inmiddels gevestigde architecten en theoretici graag terugkomen om

Sinds de INDESEM editie van 1989 is onze wereldbevolking met 2,4 miljard mensen toegenomen. Deze ontwikkeling waar we ons nu midden in bevinden biedt uitdagingen voor ontwerpers, architecten en stedenbouwkundigen. Hoe gaan we om met deze dichtheid? Wat voor effect heeft dit op de mens? Hoe moeten onze steden groeien, ontwikkelen en verdichten? Neem als voorbeeld een plek in de stad waar je geboren bent en stel je voor hoe die straat, dat gebouw, dat plein of die wijk eruit zou zien wanneer er vier keer zoveel mensen zouden moeten leven. Speculeer naar deze groei en mogelijke strategieën hoe de omgeving met deze groei zou kunnen omgaan en/of hoe deze groei de woonomgeving beïnvloedt. Ga voor meer informatie naar onze website www.indesem.nl en schrijf je in!//

O U R FA C U LT Y We walk its hallways, drink its coffee, admire its looks. We work here, we meet here, we may occasionaly take a nap here. What is now the Faculty of Architecture and the Built Environment has a rich history that is worth telling.

In the early 20th century, there was a demand for a new Chemistry building and the architect G. van Drecht drafted a design. The construction of the faculty started in 1918, but was abruptly stopped in 1923 due to a financial crisis. By then, only half of the building was finished and, because of the persisting crisis, it took quite some time until the building was actually completed. For a long time, the finished faculty was left vacant. In 1948, the building was finally prepared for use as the main building of the university, which resulted in the division of the entire building into small offices and the reduction of the height of the floors by adding new floors in order to increase the office space. When the old Faculty of Architecture and the Built Environment burned down in 2008, this building was already sold and there were plans to turn it into an apartment complex. However, the contract was nullified and the faculty had the entire summer to transform this building into a good working environment. The bureau Braaksma & Roos was asked to take the lead on this project, since the firm had already done a lot of research on the design of the apartments. Other parties were included and together they created a concept that lead

to the actual design of the faculty. The building itself already had many valuable qualities, but due to the office structures, a lot of those qualities were hidden. The building was transformed back to its original state. All small office boxes and the extra floors were demolished and, as a result, the building regained its natural height. With nearly 30,000 m2 floor space, the building was not big enough to house the entire faculty. It was necessary to add two glass conservatories, which would result in an additional 5000 m2. The conservatories, together with the ´street´, are part of the clear routing structure through the building (as shown in the floor plan below). The building is considered an éducation permanente, which means that students can see the structure, construction and installations of the building and can use this to learn about these topics.//

SOURCES • Braaksma & Roos. (2013). 1701 BK City STAY: Technische omschrijving. • Braaksma & Roos. (2013). 1701 BK City STAY: Nieuwe situatie. • Kennis- en Projectenbank Herbestemming. (n.d.). BK-City Delft. Retrieved from: www.kennisbankherbestemming.nu

JULIA KAPINGA

The architect responsible for the original building was G. van Drecht.

The building was called Rode Scheikunde (red chemistry) since the façade mainly consists of red bricks and it was supposed to become the faculty of Chemistry.

The architecture of the building is known as the traditional style with influences of the Amsterdamse School.

In 1936 it was the largest university building in the Netherlands

The old fume chambers enabled the possibility to implement modern decentralized airconditioning.

The constructions of the conservatories consists of a light-weight Octatube Tuball Spaceframe, which was completely engineered in only three month’s time.

In the façade there are ornaments which conceal the outlets of the former fume chambers.

In 2002, the building got the status of national monument (Rijksmonument)

Involved architects

Awards:

Europa Nostra Award - 2011 Nomination Gulden Feniks, category renovation - 2011 European Union Prize for Contemporary Architecture - Mies van der Rohe Award shortlisted 2011

Braaksma & Roos: Coordinating architect Fokkema&Partners: Programme MVRDV: Innovating new ideas Kossman.deJong: Public spaces Octatube: Construction conservatories

Dianaâ&#x20AC;&#x2122;s Nikon D3100

NOORTJE WEENINK

INCLUSIVENESS Mounir Samuel once wrote the following: “What is hated by many is what I love most about the Netherlands: the endless colourful diversity on the streets. The whole world in one hand, all nations in one land.” In our faculty, diversity and the aim to become an international institute is one of the flag poles. Is BK City then also the example of an ideal sample society where a welcoming environment and equal opportunities are provided to students and professors for studying and working, regardless of their cultural backgrounds and gender? The organisation of Ground for Discussion (ARGUS, Stylos, Polis, Bout, Boss, Geos and the Faculty Student Council) noticed ‘that opinions from different groups of people vary on whether this is actually happening here.’ Together they joined hands to create an open place for discussion. ‘Since the policies made by the Faculty’s management are influencing the lives of every citizen of BK City, Ground for Discussion aims to provide ‘a place for open discussions on management, education and

plans of the faculty, a place where voices from different groups of people can be heard.’ To announce the new initiative, they turned the Orange Hall into a cosy living room-like setting where students, staff, PhD students and candidates, and other people involved in the Faculty could discuss the topic of “Inclusiveness”. During the event, the participants questioned whether a change in our Dutch culture of tolerance to a culture of acceptance and empathy would be more favourable to all. Shouldn’t society be more inclusive by opening up its heart, creating an empathetic environment where all kinds of people can thrive? Of course there is a paradox here. If society is empathetic, and a certain individual is not as much, can (and should) we than be empathetic towards this non-empathetic person? It certainly provides further ‘Ground for Discussion’.//

This text is a shortened version of an article written by Noortje Weenink that originally appeared in Bnieuws volume 50, issue 06.

FORM FOLLOWS PROFIT IN CHICAGO The following pages are a conclusion made by me (Cas Esbach) based on the research done by a group of Dutch students following the MSc2 course Complex Projects in Chicago.

of growth, music, and community there seemed to be a second more sinister side. The side of money. Graft, greed and wealth seem to be the defining feature in every part of life in Chicago.

After spending two tumultuous months in the city of Chicago, we have come to know a few of its faces. We watched the Cubs win their first world series in 107 years, we marched with Chance the Rapper to the polls, and then marched again in protest of Trump. The contemporary, involved, young and outspoken parts of Chicago made me fall in love with the city. However, behind every positive story

With this in mind, I formed the hypothesis “Form Follows Profit in Chicago” and spent my weeks in this new city trying to prove/disprove it. To clarify: I do not mean that every shape is defined by how much money somebody is willing to spend on it but rather that the social and urban constructs that define Chicago are defined by the question “where is mine?”

CAS ESBACH

METHOD To test my hypothesis in a semi-scientific way, we placed some boundaries (3km x 35km) to focus our field of research. The chosen strip of land starts slightly east of the Loop and stretches all the way out to Lombard This strip was chosen because it mimics the central axis of the urban plan (Burnham Plan) created by Daniel Burnham in 1906. The strip also contains important infrastructure and many of the conditions of Chicago. However, this does not

mean that the discovered results will be applicable to the rest of the city. The strip is researched by splitting it into politics, demographics, economics, future plans, infrastructure, density, zoning and history and drawing maps of these concepts. The resulting maps were then compared and contrasted to find patterns and relations between them. The discovered relations or lack thereof will be shown on the following pages.

SCHOOLS 1. SCHOOLS

2. AVERAGE INCOME PER HOUSEHOLD ABOVE $80.000

3. SCHOOL DISTRICTS

1. glenbard township school 2. du page school 3. elmhurst school

In the United States, public schools belong to school districts, which are governed by school boards. School districts are local governments with powers

district 87 (score: 7/10) district 88 (score: 5/10) district 205 (score: 9/10)

4. provisio township school 5. oak park - river forest 6. city of chicago school

similar to that of a town or a county including taxation and eminent domain. School districts in the Midwest and West tend to cross municipal boundaries

and not adhere to city, township or county lines. In Chicago, we can see that the school districts seem to be defined by the richest echelons of society. They

district 209 (score: 3/10) district 200 (score: 9/10) district 299 (score: 5/10)

can donate to their schools increasing the quality whilst the quality of the schools in impoverished areas are left behind and struggle to even get by.

FOOD 1. SUPERMARKET

2. LOW ACCESS ZONE FOR SUPERMARKETS

3. AVERAGE INCOME BETWEEN $10.000 - $30.000

4. GAS STATIONS

A popular research topic in the recent years has been the vast food deserts that cover Chicago. These are areas in the city where residents, usually poor and black, do not have

access to fresh foods. When comparing the maps we can clearly see that the lack of household income results in the lack of access to fresh food. This often results in poorer

populations using gas stations and fast food restaurants as a source of food, despite the lower quality and adverse health effects. The urban fabric of supermarket distribution

adheres to the concept â&#x20AC;&#x2DC;Form Follows Profitâ&#x20AC;&#x2122; with supermarkets not being accessible to the poorest households in Chicago.

CAS ESBACH

FUTURE Now that we can assume that to a certain extent the form of the social and urban fabric of Chicago follows the pull of profit, what can we say about the future? What will Chicago look like as a city where the concept of ‘Form Follows Profit’ has been allowed to continue? Is it a good or bad thing?

hyper villages where the wants and needs of the civilians are attended to. But even these new ideal utopias have fallen prey to profit. The light shafts that were initially designed into the buildings intended to create natural light will be filled with more hyper dwellings, mega-malls and gigantic schools.

In reality, it is neither. Form will follow profit in Chicago and result in huge patches of land becoming unusable. More and more money will be spent on fixing problems on the surface as seen when analyzing parks and infrastructure, whilst the underlying problems will be allowed to continue to grow. At a certain point the travel time from a poorer area to fresh food will be so long that it will be impossible to live there. Everybody will have to move to the three historical cores leaving behind a desolate wasteland of broken roads. The new blocks will become overdeveloped

If we allow the greed of ‘Form Follows Profit’ to continue, the city of Chicago will become a mega-metropolitan area with enormous dead zones that are being kept dead purely by the growth of the city along the path that it has set out for itself. Even though the images that I propose may seem extreme and preposterous, we can argue that this is already happening. Huge stretches of land in the city of Chicago are almost unliveable due to terrible schools, infrastructure, parks and access to food.//

FORM FOLLOWS PROFIT*

sometimes**

* I was given four pages in the pantheon//2017 to show my research, however many other topics were also looked into. With the before-mentioned research method, I was also able to show the correlation between form and profit for the topics of: parks, infrastructure and income. From this, we can conclude that form follows profit in Chicago and shapes the urban and social fabric of the city. ** Religion was the only topic that did not clearly follow the rules of form follows profit. In Chicago, it seems that the only thing more important than money is God.

Ninaâ&#x20AC;&#x2122;s Nikon F3

DIANA SMILJKOVIC

Materiality and perception Material in the physical world: “we are always living with the things that have been produced within our society, things which have a cultural resonance that makes the flow of our lives feel familiar, just as much as the sound of our language does. At work, at rest, at play, whether other people are involved or not, material things accompany the activities of our body and provide the environment for everything we do.”1 Reality is dominated by the illusionary effect of matter.

It is the composition of atoms, and organisation of elements that actualises material and therefore our surroundings. Action is not possible without a medium of being, which in itself dictates the importance of material. Humanity is built on the construct of surrounding, utility and possession; a major influence in the evolution of man is the concept of consumerism and material development which in that leads this article to its core - the source of our reality is denoted in material (and its raw construct). The importance of material enables a plethora of artistry, craftsmanship, engineering and invention to take place yet with the introduction of modernity and technology the loss of craftsmanship has amounted to the decrease of a certain material possession yet has enabled an introduction to material through a new perspective - digital material. Craftsmanship reintroduces the individual to the process of making, and reflects the emotion that materialises the product. Meaning is therefore manufactured by the individual and is solely subjective. Through involvement, possessions acquire meaning as they become referential to specific memories of the individual. The industrialisation of material things is slowly dismembering the individual from the meta physical representation of the object. Introducing the material in the meta-physical world one can assume that as innovators (designers, architects, engineers etc.) are, at core, manipulators of material, holding a grand responsibility of influencing and shaping the character and emotion of a space. Jacob Voorthuis’ lecture on philosophy and materiality goes to explain how life is given by ordering matter and therefore identifying the architect as one who orders source to object, spiritualising matter - it can be assumed that the perception in understanding the composition of material can ignite raw sense of self in space. It is the way in which we perceive through which we can be; and therefore our direct surroundings shape our state of mind. Aristotle identified: physics, metaphysics and the soul and so if applied to architecture one can argue that the

physical directly forms the metaphysical and therefore influences the soul. By entering the subject of the metaphysical we can cite phenomenology and its direct focus of experience. Phenomenology introduces the idea of how ones environment affects the foundational character of lived experience. Place does not refer to the locality, but consists of factors that consolidate to form the environment’s personality. Human value and engagement is primary to the rationality of design and construction. Pallasmaa identifies atmosphere as a vital component in the existential experience. In designing atmosphere the determining factors are empathy and sensitivity. Zumthor’s understanding of atmosphere would be comprised of craft, anatomy, material compatibility, acoustics, temperature, objects, composure, tension between interior and exterior, levels of intimacy and light. The concept of architectural anthropology is addressed as to “analyze primordial experiences of architecture.” And so to celebrate the unconscious in being.2 It is therefore through ordering material in a mindful way that it can resonate into its mindful use. “Attention is the rarest and purest form of generosity” (Voorthuis). This further denotes the importance of awareness towards material, its construct, its qualities and possibilities. To merge physical with psyche one must start from the raw source, listen to its claims and in that create a structure or object that needs no further explanation but is ever so understandable and relatable to the user. “Beauty is that to which nothing can be added or taken away,” Alberti said. Beauty not in an aesthetic sense but acknowledged as the peaceful state of being experienced through the understanding of space and its comforting reassurance of calm.// SOURCES 1

Dant T. (2004) Materiality and society. Cornall, UK. MPG Books Ltd.

Havik K., Tielens G., Patteeuw V., Vandeputte T., Pallasmaa J.

Zumthor, P. (2013). Oase #91 Building Atmospheres. Rotterdam, NL, NAi Publishers,

Naar Holzer Kobler Architekturen. Rendering door LMcad Studio. Naar Holzer Kobler Architekturen. Rendering door LMcad Studio.

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KUNSTAVOND @ Witte de Withkwartier

REWIRE Festival

Every Friday = Art Evening in the Witte de Withkwartier. You can tour the street solo, or join a Kunstblock Tour. Get to know the contemporary art in Rotterdam, inside and outside, from fine art to music, from photography to film and much more.

Are you the adventurous type, always on the hunt for a truly rich blend of cutting-edge sounds and smooth tunes? Or do you just want to enjoy the extraordinary vibe created by amazing artists and interesting venues?

The Kunstblock Tour takes place between 7 - 8pm, attendance is free, no reservation required.

Rewire is an international festival in the Hague that offers a world class programme focusing on contemporary electronic music, neo-classical, new jazz, experimental pop, sound art and multidisciplinary collaborations, such as screenings, talks and workshops.

THINGS TO DO

SOCKS-STUDIO.COM

iGNANT is an award-winning online magazine featuring the finest in art, design, photography, fashion and architecture. If you are looking for the most captivating work from both established creatives as well as emerging talents, you should definitely check it out. In addition to publishing inspirational projects from around the world, iGNANT also produces its own unique editorial features on the cutting edge of contemporary culture that include interviews, studio visits, travel stories and more. Want to know what all the hype is about? Visit www.ignant. com and you will never catch yourself boringly scrolling through your Facebook timeline again.

Wondering what you can do with your life after finishing your studies? Find a fellow architect, move to Paris and start an online magazine. Or as Mariabruna Fabrizi and Fosco Lucarelli call their platform, â&#x20AC;&#x153;a non-linear journey through distant territories of human imaginationâ&#x20AC;?. Operating from a perspective outside the boundaries of architecture, Socks explores different fields of investigation and reveals underlying affinities and unperceived relations through an approach that ranges from a pure curatorial practice to more in-depth analysis. Its articles follow a nonlinear sequence, not devoted to tell the newness, but to unveil permanences, correspondences and anachronisms.

WEBSITES TO VISIT

IGNANT.COM

BOOKS TO READ Archist ARCHIST is a playful interpretation of the expressive language of some of the world’s most popular artists. The book shows that there is a symbiotic relationship and implicit partnership between architecture and art. A sculpture is like microarchitecture, a facade can become like a painted canvas and a building can look like it was shaped by a skilled sculptor. The posters in the book manage to catch the essence of the oeuvre of the artists in question. As a consequence, the posters are much more than mere decoration; they become a aesthetic piece of art history.

Gedichten van de broer van Roos Rhymes written on the joke, very technical pieces - but also almost assured lyrics, tightly rhymed, about love, society or go dead – Tim gives you a journey through his head. Sometimes light verse, sometimes classical. Sometimes easy, sometimes a puzzle. Sometimes heavy, sometimes light. But every time it hits something. A little to laugh, a little to cry. In this poetry debut, Tim Hofman shows his passion for the art of rhyming, a side of him we had not seen before.

Made in Europe Greek tragedy, the Russian novel, the Italian cinema and German Romanticism; Bach, Monty Python, Chanel and Brancusi - Europe is more than Eurozone crisis and overregulation from Brussels. What is it that Europe really binds? What cultural achievements make Europeans proud? In Made in Europe, Pieter Steinz dives deep in the cultural DNA of our continent. On the basis of 104 essays and many small ‘vignettes’, he sketches a tour of the main stops of European culture. The result is a cultural guide and a European art history together.

@dmlnyc

@humzadeas

Disruptive Media Lab: They make an artwork of their Instagram page itself. They call themselves storytellers, designers & digitally savvy craftsmen.

Work of the teenage urban explorer Humza Deas regularly risks life and limb, as well as arrest for trespassing, to create his posts

INSTAGRAMS TO FOLLOW

@natgeo Beautiful photographs of people and nature, made by the photographers of National Geographic

@fredericforest Instagram of the designer FrĂŠdĂŠric Forest, with a nice mix of design, interior and drawings

Livâ&#x20AC;&#x2122;s iPhone 6

Ter ere van het 175-jarige lustrum is er vanuit Stylos een paviljoen ontworpen voor de aula. Er is al eerder een Stylos paviljoen geweest waar een ontwerpwedstrijd aan vooraf ging. Lees hier meer over de studentennominatie in dit 20 jaar oude artikel!

UIT DEN OUDEN DOOSCH CREATE 00 - Studentennominatie De studenten van de faculteit Bouwkunde konden één plan nomineren. Elke student kon onder vermelding van naam en studienummer één keer een stem uitbrengen. Alle stemmen die niet aan deze voorwaarden voldeden telden niet mee in de uitslag. Bij een gedeelde eerste plaats zou er geloot worden. Dit was echter niet nodig. Indien de nominatie van de studenten overeen zou zijn gekomen met de nominatie van de jury zouden er vijf ontwerpen zijn die doorgingen naar de tweede fase. In totaal zijn er 243 stemmen geteld. Het ontwerp dat door de studenten genomineerd is: CREATE 00.

De hoofdconstructie bestaat uit twee materialen: kunststof en hout. Twee wanden die schuin op de bestaande fundering staan, delen de begane grond op in een kleine (23 m2) en een grote (60 m2) ruimte. Deze dragende wanden bestaan uit opeengestapelde bierkratten (merk en dus kleur nog nader te bepalen) die zijn verlijmd en door middel van trekkabels horizontaal en verticaal zijn verbonden tot twee stijve vlakken, onderling verbonden door de houten trap en balken. De transparante vlakken tussen de kratwanden zijn van kunststof. De gevel bestaat uit houten kolommen, tevens windstijlen, hergebruikt uit

Laaven, met daartussen glas. De uitstekende wanden markeren de hoofdentree van het paviljoen. Het terras bevindt zich naast de entree, aan de zonzijde van het paviljoen en bestaat uit stoeptegels waar een laag grind op ligt. Aan de andere kant van de kratwanden is de achteruitgang, bij grotere evenementen als het MidZomerNachtFeest bovendien entree. Tussen de wanden bevinden zich de functies van bar (3,5 m2), opslag (4,5 m2), wc (2 m2) en trap. De trap leidt tot de verdieping (68 m2) op een hoogte van vijf meter, een houten doos. Het is een rondgang voor exposities, met een vide naar de grote zaal, en ruimte voor diaen filmpresentaties. De stalen roosters uit Laaven worden gebruikt als reling bij de vide. De verdieping geeft toegang tot de buitenruimte (30 m2) op het dak, het hellende vlak dat met kunstgras is bekleed. Het gesloten geveldeel van de verdieping aan de kant van bouwkunde vormt het display voor de sponsornamen, naast de twee wanden met het bierlogo. De afvoer van het hemelwater gebeurt via regenpijpen die verticaal door de kratten lopen. Door gebruik te maken van de bestaande fundering, waar mogelijk materialen uit Laaven en een gesponsord artikel als bouwsteen worden de materiaalkosten van het paviljoen beperkt.//

pantheon//, jaargang 4, editie 4

Delft 1:1 a raw interview

*Sofie Angelie Hovgaard (S) on Skype* *Harald Hermogenes Batol Bjørkum (H) and Gustav Kjær Vad Nielsen (G) in orange hall interviewed by Diana Smiljkovic (D)* *Start recording*

S: Are you on the orange staircase? H: The whole orange hall can see you now, you’re like Simba. S: Just going to plug this in because I can’t hear you. D: Ya. H: Ya ya ya ya. S: So how’s it going? You guys ready? D: Ready. H: Just wave to her so we can take a photo. *laughs* H: Okay, Sofie welcome. Introduction D: Welcome to the interview. Firstly a little introduction to our readers; it’s two questions in one; if you could explain what is the 1:1 program and the organisation/event it is for? H: That’s for you to answer, Sofie. S: That’s for me to answer? Like right now? Ha, was the plan to record it or do you want me to talk slowly? D: Yeah, no, no, it’s recording S: Okay, so Delft 1:1 is part of bigger event series Global 1:1, which is a series of installations organised by the Sydney Architecture Festival. It’s a collaborative project between the Festival, students and practices. It occurs in many different cities; so, for example, it was in Sydney of course, Shanghai, Hong Kong, New York, London, Copenhagen and Delft. The aim of it was to initiate dialogue with citizens and ask the question “how much space do we need to live well?” worldwide and to highlight the importance of the development within social housing and minimal living. It was represented by these plan drawings taped down in a 1:1 scale and the reason why it was presented in the true scale was so that everyone had the chance to experience the true apartments, inhabiting the drawing.

Each country has a different approach to the question which is reflected in the chosen plan drawings taped down in the different cities. Copenhagen highlighted a newly proposed typology for student housing, New York looked at how micro apartments are catching on, and Sydney compared a Sydney, a Shanghai and a London apartment with the average dwelling size for a standalone house in Australia. Delft showed a selection of three post war single-bedroom apartments that presented the evolution of minimal living in Delft. S: Should I explain the approach to Delft 1:1? Choosing Delft D: Um, yes, my next question would be why do you think Delft was a good city for 1:1? S: Okay, in comparison to all the big cities that I have just listed that also had the installations, it was important for us to show that this crisis that we are talking about is also visible within a small city like Delft; so we showed the so-called development of the social housing and it was very obvious to see how the dimensions shrunk from year to year - we had 10 year gaps (the 60’s, 70’s, 80’s) and it turned out you lost about 10 m2 every 10 years. In a time of increasing housing prices and densifying cities, the spatial needs for living are challenged within the private domicile. Even in the short history of single-bedroom apartments in Delft, a small city not subject to the same pressures as New York or Amsterdam, there exists considerable variety. We wish to explore the question of how the historically variable housing stock of Delft adapts to accommodate demographic change and cultural shifts.

DIANA SMILJKOVIC

D: Well then, that answers my next question of how you decided on the three plans. S: Okay, I will be more precise about one question and not talk too much. *laughs* D: Did all three of you make the decision over the plans? G: No, that was when we brought Willemijn into the project, from the Method and Analysis chair H: And Hugo. S: We actually had a discussion about two or three different selection criteria. The first was the historical development and the second was to pick one fixed rent per month and take different cities to investigate how many m2 would you be able to get in the different cities. For example, if you compare Delft and Amsterdam with an even smaller city, you would get even more drastic differences in sizes of apartment - this approach would enable us to study the value of property within the different cities. We had one other, what was that? G: What did you mention, you mentioned the historicalH: -was it pre-war or post-war? Because that was also an option: choosing whether it should be before the war, in which case Delft has a lot of references, or if it should be the post-war era. G: Yeah, we also discussed whether we should compare them to the apartments in Sydney and other places around the world, instead of only Delft, to show the difference. H: Yes, exactly. G: As there is a strong tradition for social housing and also student housing especially in Delft - we chose to show that.

The Delft selection consists of three post-war singlebedroom apartments representing the 1960s, the 1980s and the 2010s. Building single-bed apartments was rare in the 1960s as aged people preferred all-inclusive elderly homes and young people opted for student housing with shared facilities. The single bedroom apartments of the 14-story Sterflats building, which aimed at a lower middle-class rental market, are a sophisticated product of the decade long rationalisation of largescale construction. In 1976 the Dutch Minister of Housing acknowledged desires and aspirations of young singles and couples who sought to enter the housing market. The Molslaan building is one of the so-called Van Dam-dwellings that were part of small scale inner-city urban renewal, the response to decades of modernist urban planning. The latest generation of single-bedroom apartments is student housing. The 15-storey Balpol building is influenced by a housing agenda initiated by the Delft University of Technology policy of internationalisation. The vision D: And what did you guys hope to achieve from the experience? H: I want to be famous. *laughs* S: Perhaps the first thing we wanted to achieve was to reach out to as many people as possible; make an installation that communicated very clearly what we are wishing to address and to be readable for everybody. So, for example, one of the last days that the installation was there we had this mother with two kids who came there and they were just playing as if it was a playground; having fun around the plan drawings -

that’s just to say that it needed to be something that was accessible and understandable for everybody. G: The exercise for us was to explore the notions of minimal living trying to address some of these questions through an engaging way instead of just architecture students sitting discussing those topics alone. We tried toH: -reach outG: -reach out and open it up to a broader audience in the way we did. S: And I also think one of the challenges was to make the project exist - because we had to involve many people to support us and to get us to where we needed to go - so part of the work for us was also choosing these people, getting in contact with these people, briefing the project to actually gain interest from other partners. The placing H: Have you talked about the placement of it? G: The situation? H: The situation; we placed it in front of the school instead of the city centreD: -yes, go on H: That was also an idea in the beginning: to actually place it in the city centre - we thoroughly analysed the city centre. S: And then we faced regulations… H: Yeah, regulations. *laughs* H: And the municipality was a little slow with our request, so actually the decision about making it here and not in the city was because of administrational reasons - I think so, because we really wanted to place it in a square in the city centre. D: Which square? G: Beestenmarkt, the main square or the central station H: And this also goes back to the reason mentioned earlier - the mother and her kids - people who don’t study architecture to interact with it in a spatial manner. G: That actually worked even though it was situated in front of our faculty; there were a lot of people also from the rest of the campus so we succeed with engaging people. We succeeded with exploring what minimal living can be and in different kind of representations in space. D: My favourite part was the interactions - how you made the space come to life with something as simple as a 2D drawing and, because it was in front of the architecture faculty, students would discuss dimensions and arrangements - it really stirred discussions.

H: And also people just talked about what was happening there - they didn’t have to know or care what it was initially for but just through its presence, it created a happening - as if the drawings activated the space without having bigger meaning than just being there - that also meant something to the people - as when we removed it people started asking “when is the next intervention being set up.” It did a lot to the space of the faculty. S: And it raised a lot of curiosity as each day or second day there was one more plan - and most of the Dutch students could recognise which student housing it was because it was a famous one - but then we added a new one which created this confusion - so with these additions we created excitement around it with the process in making these plan drawings. Expectations D: And did you find out something that you didn’t expect to? H: The glue of the tape is very strong. *laughs* H: Didn’t expect that to happen... No. G: We visualised the development of minimal living and social housing, which we couldn’t have done before we studied it. D: So it was nice to see it come alive G: Yeah, exactly. S: It’s actually quite interesting as there was some sort of art in making it. All of a sudden, we had to do the dimensions of a toilet, drawing by hand the furniture - and in part of that - in terms of how you can rearrange it, we had a lot of discussion about how the interior could be arranged in our minds - so it was really fun as we were taping down something that is fixed - the plan drawing that we’ve studied and whilst doing it we had started thinking about how it can be done differently - I never imagined that step in my head - for me it was more of choosing the plan and then making it - but there was still layers of processing through making it. G: Some of the plans had the furniture already. S: The first one was the one with the corner window. G: That plan did not have furniture but we based the interior on photographs so we tried to make it as true as possible to the real thing. The last one included the furniture in the plan, whilst the one in the middle we aimed to do as precise as possible. We didn’t know exactly how it was, so we explored the interior layout. S: Yes. D: What I also noticed was that a lot of people would discuss if it was their space or their home how they

DIANA SMILJKOVIC

would layout the interior and furniture and I found that interesting, as people would start personalising the space. H: Something else that was unexpected was the engagement from Hugo and Willemijn. Their engagement over the project and during the process - they were very interested in taking part and supported us. S: And the enthusiasm from other people towards the project itself, that was quite unforeseen. G: We divided the project into three steps. First was the taping down, which was mainly discussed by the architecture students who helped us. We gained a lot from that interaction. The second part was the rearrangement and the leading up to that - the opening event where we discussed how the plans could be rearranged - the discussion of “if this was your home how do you envision the space to be” was the engagement with a broader audience - and then the last session was the new tape rearrangement - that was the culmination of those discussions. The next step D: And finally what is the next thing you hope to work on if you have an idea? H: Biennale. *laughs* S: Well we did talk about a second 1:1 series; to have it more as three-dimensional units of parts of an apartment - so you could have a kitchen unit, or toilet unit - these elements that you can rearrange - then we scaled that idea down to be a 1:20 model. G: We were discussing doing these spatial interventions

New York

London

in public spaces to question different spatial topics or living circumstances - so temporary small spatial questions. S: All our ideas have this frame of wanting to raise a bigger question - and we want to communicate this through an intervention that everyone could interact with and then place it somewhere we can gain valuable research out of it G: And it’s the participation not to a specific project but to exploring questions H: Where would we do that? Back in Denmark - as our exchange semester is finishing - so back in the Architecture school of Aarhus (Arkitektskolen Aarhus) H:AAA *laughs* S: Delete that. Diana H: Delete that. D: Thank you so much for this talk, it was lovely discussing the 1:1. S: We tried to stay true to the plans and it was a pleasure to bring it to the space and engage the public. D: It was nice to relive the 1:1 through this talk. S: Yes definitely, and aren’t you guys busy with your projects now? H: Yes but we always have time for Diana D: Haha, I am going to put that in. Documentation from all installations have been gathered and compared at a screening for World Architecture Day on 3rd of October 2016 in Sydney.//

Copenhagen

Delft

Shanghai Hongkong

Sydney

Basiaâ&#x20AC;&#x2122;s Canon 1100D

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

LARS HOGEBOOM

Replace or renovate the Pégé-Houses? Recently, there has been renewed interest in the renovation of the so- called Pégé-houses. The houses, developed by Pieter Guelen, were built in the 1950’s in the proximity of Nijmegen. Municipalities, like Wijchen and Groesbeek, are examining their options whether to completely demolish or to renovate the houses. New demands in the fields of building physics and the comfort of living are causing this.

Pégé-houses became a success due to their easily set-up and inexpensive construction. In October 1972, minister Udink opened the ten-thousandth house. Approximately 12.000 houses were built. Most of them located in Beuningen, Wijchen and Groesbeek. Only fifteen percent of the Pégé-houses is categorized as such, the others are quietly included in the villagescapes of other municipalities. The system was made by keeping in mind that as little work as possible should be done on the working site. The outer walls are cavity walls with prefab timber elements built story high. The inner walls, the separating elements between the rooms, consist of simple wooden panels. Only when absolutely necessary, concrete piling methods were used. An example is the separating walls between the houses. The first floor consists of 49 m2 of living area. Even by today’s standards, this is good. In its time, the postwar reconstruction, a time of prosperity and a great demand in the realisation of houses, the buildings were gladly accepted. Inventor Pieter Guelen thought, at the time of developing the houses, they would not stand for such a long time. At first, the houses had a lifetime of 50 to 60 years. The problems are the renewed standards for comfort of living and the closely intertwined renewed requirements in the field of building physics. The energetic quality performances of the houses are not sufficient for the current norm. After the first renovation period, in the 1980s and the 1990s, the houses would often still have an energy label of D.

Apart from these problems, there are also complaints about the lack of differentiation between the façades. Following the fact that the houses could be well insulated by improving the façade. If the houses are not being replaced, this would be the first aspect which would come to mind for improvement. At first, housing corporation Talis thought that demolishing and replacing the Pégé-houses would become the most economically beneficial solution. A survey of 419 houses in Kraaijenberg gave the exact opposite outcome. Renovation was still the best solution. Several houses of Talis have already been renovated since 2011 and more houses are being renovated at this very moment. The combination of complaints about the lack of differentiation and the fact that the façade is the best solution in renovating the buildings, leads to the participation of citizens in the design of these façades. By participating, tenants are able to give their house block a unique appearance. Although the houses were not meant to be used for such a long time, several researches on different locations have led to the conclusion that the Pégéhouses could easily be renovated and are still functioning well. Simple renovations are enough to make the houses acceptable for today’s standards. For the people living in the houses this comes as a relief, as they are not obligated to leave their houses. It even comes as an opportunity to design their houseb locks with a personal twist.//

BO WIELDERS

HUMANS OF BK CITY New pantheon//, new students and a new year. Perfect moment for a small reflection. What did you do last year that makes you proud?

Thomas, bachelor student Last year I learned to ski and went travelling and hitchhiking for three months in Canada. I never did that before. Iâ&#x20AC;&#x2122;m proud of things I never did before. It makes me smile and it gives me energy when I think of those moments. At the same time it creates a constant desire as well as a need to travel, be in freedom and nature. Studying architecture and living in Delft is also something new, but it feels more as an obligation and a bit less special, as more people do it. Feeling proud comes from accomplishing a goal, so I believe in a few years, when I look back at my time here in Delft I will be proud, but right now it feels like a normal thing to do.

Nadine, bachelor student I am proud to have gone to my first holiday without my parents. I travelled to Malta with four friends and had an unforgettable time. It was a relaxed, lovely experience which made me feel more independent.//

Arthur, master student For me, feeling proud involves other people, being there for friends and family for example. I think it is a bit narcissistic to be proud of things you did for yourself. The fact that the relationships with my family, friends and girlfriend are going very well makes me proud, just the small moments in everyday life.

SAMEN DE GEVELS VAN DE TOEKOMST ONTWERPEN Het onmogelijke bereiken? MHB begrijpt uw verwachtingen. Onze veelzijdige stalen profielen en in-house engineeringskennis maken het voor MHB mogelijk om de meest innovatieve en unieke gevel-systemen in de wereld te crĂŤeren. MHBs kracht ligt bij de ontwikkeling van nieuwe gevelconcepten. We combineren architectuur met engineering en technische innovatie. We voegen een extra dimensie toe aan onze reeks innovatieve systemen door het introduceren van vrije vormen. In de vroege ontwerpfase gaan we al de samenwerking aan met onze bouwpartners. Deel uw visie met ons!

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