pantheon// 2023 | noise by Study Association Stylos

pantheon//

noise

biannual publication of d.b.s.g. stylos / issue 1 / volume 28

noise

A: a sound or sounds, especially when it is unwanted (wanted), unpleasant (pleasant), or loud (quite)

B: any change in a signal, from a person, an object, or any abstract thought

C: unexplained or unexpected information that should(?) be ignored

D: a generalised term for a growing issue:

1: common talk: rumour,

2: indirect casual, or unoﬃcial comments,

3: OUTCRY, PROTEST

/nɔɪz/

biannual publication of study association Stylos faculty of Architecture, TU Delft

colophon volume 28, issue 1, June 2023

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)

Merel Huizen

Aafke Simonides

editors Armand Alouche

Veerle Beeldman

Max Brink

Nathan Döding

Luka Jonker

Emilia Karampis

Michèlle Pals

Alessandro Paun

Stepan Prikazchikov

Pim Recourt

Nathalie van Vliet

NOISE//

lay out

Armand Alouche, Veerle Beeldman, Max Brink, Luka Jonker, and Stepan Prikazchikov to this issue contributed Lizette Wentzel

EDITORIAL

BY STEPAN PRIKAZCHIKOV

Noise is perhaps the most broad topic we could have chosen for this edition. We are all innately familiar with it, from the day we’re born to the day we die. We are constantly exposed to it. As children, we recognise it as something that enters our ears and allows us to hear. As we grow older our relationship with noise changes as its inﬂuence on us grows.

Noises are more than sounds that we hear from our friends and family. They’re not just waves and frequencies that pass through our eardrums and incite emotions and provoke our thoughts. Noise can be a generation deciding to change. Noise can be a cause of chaos or harmony. Noise can be something that lifts us up or something that holds us down. We can create noise, or we can succumb to its overwhelming control.

With this issue of pantheon// we try to go in on the noises that surround us. Some close and anecdotal, and some far away, echoing and almost forgotten. We try to show its positive inﬂuence, and detractive

Illustration: Max Brink

capabilities. Most of all, it’s us trying to make a little noise, to inspire you and to make sure that you know that the noises that you make do matter.

So please, if I may, I ask you to sit down, to turn on your favourite playlist, and to allow for noise to overcome you as you read this magazine. If you’re a seasoned veteran or just an amateur beginning your career making noise, I hope that we provoke you to only get better with this issue of PANTHEON //

STEPAN PRIKAZCHIKOV EDITOR-IN-CHIEF

ARMAND ALOUCHE EDITOR

VEERLE BEELDMAN EDITOR

NATHAN DÖDING EDITOR

EMILIA KARAMPIS EDITOR

MICHÈLLE PALS EDITOR

ALESSANDRO PAUN EDITOR

PIM RECOURT EDITOR

NATHALIE VAN VLIET EDITOR

LUKA JONKER LAY-OUT

MEREL HUIZEN QQ

MAX BRINK CHAIRMAN

COMMITTEE 2022/2023

AAFKE SIMONIDES QQ

03 pantheon// biannual publication of d.b.s.g. stylos issue volume 28 noise

CHAIRMAN’S NOTE

STIJN BLOM | WORDS

We could all feel the world had gotten into motion again. The faculty had been buzzing with new first years finding their way in this extraordinary environment. The Maquettehall had been vibrant with enthusiastic, motivated students, giving their all to visualize their vision. The Atelier tables had been covered with drafts and drawings, and the smell of markers had filled the air. The constant popping of fine liner caps, muffled conversations in the background, and the ripping of sketching paper had been the noise that completed this fantastic atmosphere of learning. But now, as the academic year comes to a close, the once bustling halls are hushed, the Maquettehall lies empty, and the Atelier tables are cleared of drafts and drawings. But the noise of the holiday is already starting.

It can be a nuisance though. It can distract you from what you are focused on. It can take over your headspace and find its way into the deepest caverns of your mind. The thumping noise you hear when you are trying to fall asleep. A party by your upstairs neighbours distracting you from your study. Flowers by Miley Cyrus which you just cannot get out of your head. However, noise can be a beautiful thing as well. It can transform a space from a dull box into a living, breathing thing. It can give life to something that is otherwise lacklustre and it can change the way we perceive the world around us. It can give comfort to those who are lonely. It can embrace the mind.

Noise is an extraordinary thing. Without it, we can feel alone, uncomfortable and out of place. Too much noise can be distracting, annoying and overwhelming. The goal for us all must be to seek for the perfect amount of noise that motivates us. That keeps us focussed, without being a nuisance. That makes us feel un-alone, without taking up all our headspace. //

STIJN BLOM | WORDS MAX BRINK | LAYOUT

Photo taken by Emmelot Linssen during BkBeats 2022

@la-di-da

What brought the two of you together?

“I completed an internship at Onix Architects, which is located in Groningen. Coincidentally, Diederik also studied there. By chance, we lived pretty close to one another. Even though we were neighbors at the time, we hardly ever spoke to one another.

Later on, we both pursued our master’s in Delft and eventually crossed paths during the ‘Hout’ elective. It was Diederik’s ﬁrst architecture-related subject in his studies. We collaborated on the course. Ironically I must admit that I recall being rather frustrated with him as he seemed somewhat inexperienced.”

“I pursued my master’s degree in Geography and Planning in Groningen. At that time, the bachelormaster educational system, which is now quite common, had only recently been implemented. It allowed students to seamlessly transition from most bachelor’s degree to a master’s degree. In my case, the university advised me to take some additional courses in the 6th semester. That was the only mandatory preparation for the Master programme.”

While the both of you finished your master’s in Delft, you are involved at the ‘Koninklijke Academie van Beeldende Kunsten (KABK)’. How would you say the program differs from the experience of your own studies?

“At the academy, it’s all very small-scale, intimate, loose and free. The bachelor is called ‘Interior Architecture and Furniture Design’, however I don’t think the word adequately describes what the program is about. A signiﬁcant amount of time is devoted to hands-on work in the workshop. This emphasis on practical training makes these students very technically skilled designers when they graduate. Personally, I believe there is merit in placing a greater emphasis on teaching about working with raw materials more, as this will become ever so more important.”

“I would agree that these skills are already quite pertinent now. We are witnessing a sort of transition where traditional materials like steel, concrete, and brick continue to be used widely. At the same time,

we see an emergence of the bio-based industry where new materials are really starting to take oﬀ. So it is of even greater value to understand how your materials are sourced and fabricated.”

How did La-Di-Da come about?

“After graduation, we did our ﬁrst project together in our spare time besides working our regular jobs ”

“This was right after the crisis in 2008. It was diﬃcult to get a job as not much was being built. Consequently, I took on a full-time position at a biennale in Belgium and Laura was oﬀered a job at the KABK. At that time, we as La-Di-Da actually got an award. It was at that moment that we started to devote more time to it.”

“It was and is still quite a meandering journey. We don’t consider ourselves a full-time practice, as we temporarily belay at times when it doesn’t bring us joy or satisfaction. We view La-Di-Da more as an outlet for expressing our individual interests and passions. Diederik enjoys imparting his expertise in timer construction and exploring concepts of modularity, while my interests lie with reuse and ceramics.”

“I guess you could say we are driven by the things we like. As these things go back and forth while designing.”

Are there more domains where these particular interests find expression?

“Usually, we try to explore how our research aligns with with our practice. For example, there is this project involving the restoration of historic, dilapidated farms and the addition of a new residence alongside. This is where my PhD research on farm reconstruction comes into play, so to speak. In a sense, that research and design work act as alternating and successive chapters, complementing one another.

I think it’s odd that we’re all so focused on tal and high-rise buildings and that the ‘non-urban context’ often receives less attention. So I mostly try to seek everything apart from urban projects.

6 PIM RECOURT & VEERLE BEELDMAN | WORDS

Laura van Santen and Diederik de Koning are the creative duo behind La-Di-Da Design & Architecture, their independent architecture practice based in The Hague. Their unique approach to design and commitment to sustainable principles has earned them the Abe Bonnema Architectuurprijs 2022 for their project dike house in Strijensas. For this issue, pantheon// sat down with the two of them at their home studio to discuss their educational background, design philosophy, and “eco-brutalism.” Laura Diederik Di La La Di La Di Di Photo by Marije Kuiper

I think it’s odd that there is such a strong focus on tall and high-rise buildings, while the “non-urban context” tends to receive less attention. When I began my thesis on farmstead architecture a few years ago, some wondered whether that could be classiﬁed as architecture. However, the signiﬁcance of these topics has become ever so increasingly evident. For a long time, there has been a prevailing “we don’t want to deal with it” attitude as they’re dismissed as ugly and not worthy of architectural attention. Yet they are an integral part of our landscape.”

“That is precisely what makes the challenge of working with these farms so intriguing. Although we label these farms as monumental, the reality is that these buildings deteriorate rapidly if left untouched. Addressing the issue is not simply a matter of adding a glass Wconservatory extension to the building as you see so often. Instead, we need to ﬁnd ways to genuinely preserve their heritage and plan for their future use. This may lay just as well outside the scope of agriculture. It might entail exploring new products or materials like timber or hempcrete. In that case it is essential to seek an architectural expression that goes beyond mere pragmatism.”

Apart from its role as your creative outlet, how would you characterize La-Di-Da as an architectural practice?

“When we were awarded the Abe Bonnema Prize, many pieces of the puzzle fell into place for us. We are faced with significant challenges, like affordable housing. Additionally the COVID pandemic has shed a light on the downsides of our preoccupation with cities. It has become more obvious that cramming people and buildings into limited space has negative effects beyond only the physical constraints. We as a practice aren’t the problem solvers for these grand challenges as a whole. Our strategy is based on doing research and focusing on the scale of one house at a time.”

“This is also partially due to the way our practice is modelled. Given the associated costs, it is often challenging to hire a large architectural ﬁrm to design

a single home. However, due to the compact size of our studio we are able to maintain a more measured approach. Our direct involvement in every step of the process enables us to create buildings that can be more cut to ﬁt and cost-eﬃcient.”

“In addition to that, the idea is also that it must be repeatable. Ultimately, you would want everyone to be able to assemble their own home out of blocks or modules.”

“We actually use such blocks ourselves. (wooden suitcase ﬁlled with wood and 3D printed modules appears)

They resemble standardised dimensions, to optimise the efficient utilisation of wooden elements for construction. So this idea of cut to fit, is more oriented towards achieving efficient repetition. That allows us to keep costs low.”

So-called ‘Eco-Brutalism’ seems to be another recurring topic. How would you describe it yourself?

“Well that has taken on a life of its own. The concept of brutalism generally revolves around exposed concrete. Comparably, we expose ecological materials instead. We sometimes use the term “Eco-Brutalism” in a lighthearted and humorous manner. However, a while ago, we were featured in an article by De Volkskrant, where they coined the word in the title, along with featuring other architects in the article who were probably unfamiliar with it. Nonetheless, the term is ever so relevant to what we do, as it signiﬁes a

7 PIM RECOURT & VEERLE BEELDMAN | WORDS PIM RECOURT | LAYOUT

Di La

Di Di

project dike house - Original photo by Jeannette Slütter

departure from the taboo of concealing raw materials and instead embracing their natural aesthetic, rather than painting rooms into white boxes.”

Wouldn’t you say it has by now become a defining characteristic of your design style?

“Ironically, I wouldn’t exactly label it as our intentional sort of style, as it’s not necessarily a deliberate aesthetic choice. We are not specifically fixated on using multiplex or OSB. In fact, OGB is more efficient than both. In a way, it’s simply the satisfaction we derive from the fact that it makes sense from both a sustainable as well as a budgetary point of view. If our primary focus were on minimising building costs, we might opt for different materials. Our main consideration is the use of bio-based materials.”

“We actually took the students of the KABK to visit limestone- and sand mines. These were pretty gruesome. Although it’s important to feel that sense of responsibility, as whiny as that may sound. However, the same principle applies to the woodworking factory, where they also use polyurethane (PUR). So, it’s not as if everything is inherently sacred. The crucial aspect is to maintain a critical mindset and be discerning in your choices.”

“Last but not least, I think learning plays a critical role in both our research and the end result of our projects. As we design, we also view the process as a means to conduct research and educate others and ourselves. The design itself is not the sole objective; rather, it serves as a medium for generating new insights and perceptions. In this way, researching and peaking our interests are integral components of our work, alongside the physical design outcomes. ”//

Great thanks to both Laura and Diederik for their time and their story. To see more of their work, visit https://www.la-di-da.nl/

8 PIM RECOURT & VEERLE BEELDMAN | WORDS

Di La Di

project Hietland - Original photo by Peter Tijhuis

SOUNDS

Looking at the work of Kenzo Tange’s Hiroshima Peace Memorial Park in Hiroshima, Japan, one can be critical about its narrative. The memorial park opens doors to remember and reflect on those who have died because of the horrific event that ended the Pacific War, yet it seems to close doors for other horrible events that has happened during this time –the memorial is centralised around the horrors of the bombing and its victims, but seems to overlook the Japanese’s contribution during the war.

Don’t get me wrong, it is absolutely needed that the victims of this inhumane event are remembered and to remind ourselves that peace is not for granted, but it seems a bit misplaced that the bigger picture is left out, both at the site and in the museum. This absence is worth noting because it creates a false illusion of

one victim and one oppressor during the war. This illusion became clear to me three years after my visit to Hiroshima and its museum, when I visited the National Museum of Singapore. Tange chose to only tell the story of Hiroshima - from a victim point of view -, which might echo his deep personal connections with the place (he attended high school there and his mother died there). Because the memorial park is visited by many people all over the world, you can wonder if it is right to only portray one side of the story.

Architecture can be about telling a story and architects are in control of its narrative - but as much as architecture is about telling a story, it is also about the story that is not told. //

ARMAND ALOUCHE | WORDS ARMAND ALOUCHE | LAYOUT ARMAND A A AL ARMMAND ND D AL ALO

1 LOUOUCUCHE W W ORD D RDS OUCHE HE LAY AYY Y O OUT UT 9

Photo taken by Wasin Pummarin

STOP THE NOISE!

The beginning of your student life is quite a paradoxical time. On one hand you get to leave your parents and start your own life with all the freedom you might wish for. On the other hand, you are suddenly your own responsibility and thereby forced to save yourself. In this period of adolescence, you will start to create your own lifestyle that will eventually transcend into the rest of your adulthood. (Ray, 2018)

With recent changes in my personal environment I have begun to notice the diﬀerence in students’ lifestyles. Some are very punctual and structured while others seem to always play catch-up. What sparked an interest in me during this small-scale social analysis at home, was the interaction between very structured and less structured people. There seemed to be some sort of misunderstanding between the two parties where the less structured housemates were a minority and therefore “annoying”. This made me question ‘’why do people with chaotic lifestyles seem to have a disadvantage in our structure-based society? Isn’t that unfair? And can we change something about that?’’

I’d like to start by saying that I believe that the amount of (un)structure in someone’s lifestyle is on a spectrum and structuredness, of course, changes from time to time. We have all experienced a chaotic deadline, haven’t we. However, I will need to generalize a bit for this article to remain making sense. Therefore I will continue with the terms ‘structured’ and ‘unstructured’ people as well as ‘order’ and ‘chaos’. Besides, I would like to deﬁne chaos

‘’Chaotic lifestyle and environment [...] encompasses individuals’ ability to organize and anticipate future events, as well as the consistency and predictability of their daily schedules.’’ (Jazowski et al., 2021)

and unstructured lifestyles by the words of Shelley A. Jazowski. In a recent study on life chaos she states: So structuredness, in this deﬁnition, has to do with thinking ahead and dodging possible future problems and making life easier for yourself. Jazowski’s quote also indicates that less structured people have diﬃculty with that. They therefore have a higher chance to, these are

just examples, lose their keys, forget to complete their assigned tasks, be late for meetings, or even forget they had a meeting in the ﬁrst place.

In general, these kinds of characteristics are often perceived as negative. It slows down our contemporary social structure, the term already gives away, that feeds on order, hierarchy and efficiency. In the book States of Knowledge: The co-production of science and social order edited by Sheila Jasanoff (2004), she explains how co-production of natural- and social order has formed every historical period in the past and most of all how order has created the present. In other words, we as a society have organically built our world from a structural viewpoint. Some examples of these structure-based norms are law, bureaucracy, traffic rules but also the hierarchy on the workfloor and additional work ethics. Employees are expected to be on time (schedule), work efficiently (focus), effectively (prioritize) and lastly, especially in the field of architecture, make sure your work is presentable and understandable to your co-workers.

The majority of people are able to ﬁt in this grid or adapt till they can cope. However, adapting to the social standard is extremely challenging if not almost impossible for people who are not naturally well structured.

This chaotic nature might come from certain sources. One well known example is ADHD (attention deficit/ hyperactivity disorder, did you spot the word (dis)order there?). There are three types of this neuropsychiatric brain inefficiency: some people have problems focusing, an ‘attention deficit’; some have extreme hyperactivity; and some people cope with both (Wilens & Spencer, 2010). Even Though this is mainly diagnosed in children, over half of the people carry their symptoms along into adulthood. Moreover, many adults cope with ADHD symptoms but have no diagnosis. Either because they were never tested, they don’t recognise/acknowledge the symptoms or because the symptoms are not strong enough for professionals to diagnose ADHD (Faraone, 2022). This is quite a shame, because a study (Pawaskar et al., 2020) found that diagnosed adults are ‘more likely to experience better functional performance, work-

10 MEREL HUIZEN | WORDS

related productivity […] and self-esteem’ than so-called symptomatic adults. Another source of unstructured lifestyle patterns could be nurture, your upbringing. The ﬁrst seven years of your life are a very important phase for they create the basis of your later behavior. In these years one develops certain patterns and uses from your parents example that will transcend to adult life with whatever eﬀect they might have. The most common patterns are to wake up and have breakfast, to go to school/work and to have dinner when you get home. Other things might be to learn to always know exactly where your things are, even in a very messy room. Or to feel stressless even though you are running late for the train.

academic environments and work performance due to their hardship in earlier life. Somehow the disadvantage stimulates creative thinking and improves problem solving skills.

So to reﬂect on the question why less-structured people seem disadvantaged in society, I don’t think they do. I think the issue lies in the highlighting of the negative aspects of chaos instead of valuing the positive. A lesser ability to think ahead might have originated in someone’s nature or nurture, but whatever the source, the ‘problem’ of unstructuredness tends to overshadow the value of a chaotic lifestyle. Creativity and resilient work-attitude are a gift that should be celebrated. //

‘’Within your chaos [...] is powerful energy. You don’t have to understand it or control it. In fact, you can’t.’’

Careless from the source of chaotic habits, the downside of unstructuredness is most highlighted. But an unstructured mind has great qualities too. Motivational speaker and author Dan Thurmon (2021) who encourages people to embrace the chaos in life spoke the following in his video blog: Instead of ﬁghting the unstructured in life, one is better oﬀ embracing it and learning to weld it into something positive. For example, chaotic people are often experienced to be more creative and naturally think outside the box (Akins, 2015). Unstructured people are less programmed to stay within the grid of society and although some impulsive creative bursts might be too much of a diversion from the norm, with some relativisation many of these ideas are actually very valuable.

Moreover, scientific studies found advantages of chaotic lifestyles in health and work-related areas. ‘Science’ author and editor Robert Pool (1989) has published an article on the correlation between chaotic traits and health. It appeared that many ailments can be associated with a loss of what he calls chaotic flexibility. The body uses the chaotic state to calibrate and find a new order again. Another study by Linda Wilmshurst (et al., 2011) shows that people with ADHD are more resilient in

SOURCES

1. Ray, R. (2018, 28 augustus). Chaos at Home Adversely Aﬀects Adolescents. https://www.unh.edu/unhtoday. Geraadpleegd op 19 februari 2023, van https://www.unh.edu/unhtoday/2018/08/chaos-home-adversely-aﬀectsadolescents#:~:text=%E2%80%9CWe%20know%20that%20chaos%20 at,before%20acting%2C%E2%80%9D%20said%20Tucker

2. Jazowski, S. A., Sico, I. P., Lindquist, J. H., Smith, V. A., Bosworth, H. B., Danus, S., Provenzale, D., Kelley, M. J., & Zullig, L. L. (2021). Transportation as a barrier to colorectal cancer care. BMC health services research, 21(1), 332. https://doi.org/10.1186/ s12913-021-06339-x

3. Jasanoﬀ, S. (Ed.). (2004). States of Knowledge: The Co-Production of Science and the Social Order (1st ed.). Routledge. https://doi.org/10.4324/9780203413845 Wilens, T. E., & Spencer, T. J. (2010). Understanding Attention-Deﬁcit/Hyperactivity Disorder from Childhood to Adulthood. Postgraduate Medicine, 122(5), 97–109. https://doi.org/10.3810/pgm.2010.09.2206

4. Faraone, S.V. (2022). Psychiatric Clinics of North America, 45(3), xii. https://doi. org/10.1016/s0193-953x(22)00074-0

5. Pawaskar, M., Fridman, M., Grebla, R., & Madhoo, M. (2020). Comparison of Quality of Life, Productivity, Functioning and Self-Esteem in Adults Diagnosed With ADHD and With Symptomatic ADHD. Journal of Attention Disorders, 24(1), 136–144. https://doi.org/10.1177/1087054719841129

6. Thurmon, D., [@DanThurmon]. (2021, 6 juli). Positive CHAOS [Video]. YouTube. Geraadpleegd op 25 februari 2023, van https://www.youtube.com/ watch?v=Cm7gSAdfWbA

7. Akins, Ashli [TEDx Talks]. (2015, 9 maart). The creativity of chaos | Ashli Akins | TEDxLangleyED [Video]. YouTube. https://www.youtube.com/h?v=a3RJ0YxRCSg

8. Pool, R. (1989). Is It Healthy to Be Chaotic? Science, 243(4891), 604–607. https:// doi.org/10.1126/science.2916117

9. Wilmshurst, L. A., Peele, M., & Wilmshurst, L. (2011). Resilience and Well-being in College Students With and Without a Diagnosis of ADHD. Journal of Attention Disorders, 15(1), 11–17. https://doi.org/10.1177/1087054709347261

11 MEREL HUIZEN | LAYOUT MEREL HUIZEN | WORDS

LOSING

“Ma’am, I’m sorry to have to tell you this.... We’re not sure yet, but if this does turn out to be metastases... There’s nothing more we can do. The estimated life span after diagnosis ... it won’t be more than a year.”

We have always been taught to think ahead, to make plans. What do you want to study, what would be your dream job, what do you want to be when you grow up? We are faced early on with questions focused on the future, we believe in its malleability, we believe in grip. But what if all of a sudden, the future is not that certain anymore?

When do you have grip? And what is it exactly that we are trying to get hold of? What am I trying to obtain, to hold on to it as though it were mine… control? Life gave me a wake-up call: it does not exist. And if it does, it sure does not belong to me.

We want to steer, to be in charge: we want to have a plan. Holding on to this illusion until life interrupts it and, as unpredictable as she can be, takes that plan and smashes it into pieces. Broken up into new possibilites, chances and opportunites you never saw before, or just broken and perished. Accidents, sickness or merely bad luck. What is left? Despair is derived from the Latin word ‘sperare’, which means ‘to hope’ But I am not sure what it is, that I would be hoping for.

What to do, in such a ﬁnal year? What to do with the uncertainty, regardless of whether this year is the last? Days went on and weeks passed and I felt like an outsider to the world, an observer. As if I were standing in the eye of a storm, in a deafening silence, watching people ﬂy around in this hurricane of meaningless hustle. They raced around me, with busyness and worry, about themselves and about others, about everything and about nothing. About now, but mostly about later.

Always later

Abruptly kicked out of this storm, I stopped participating for a while. Why all these worries? What does ‘now’ mater, without later? I later found out that it was how Gautama began his Buddhistic journey: “What is the meaning of life when existence is so transitory, so uncertain and so full of sorrow?” There I was standing, as small as could be, in this new nihilistic world and I lost my grip.

Certainty, that is what we are all longing for, what we are trying to grasp. Paradoxically, the only certainty in

life turns out to be uncertainty. There is nothing but change, nothing we can actually hold on to, and that is the only certainty life can give. Thus,

We can chase something intangible, but never grasp it. No one knows what is later, what comes later and whether later will come. It frightened me at ﬁrst, letting go. Daring to accept the incertitude. But I found out that this realisation does not make living any less important, it is just all there is. On the contrary, it makes every moment count even more, being grateful for that ‘all’ that just is.

I would not want to ask you what you want to become later, but who you’d want to be right now. It is the only thing we can grasp, our own perception of grip. I lost mine, and decided to leave the illusion behind for good.

Fearing the future, dealing with uncertainty, losing grip - this is my story, but I think many of us share the feeling. Especially in this early stage of our lives as students with this big empty future in front of us, exciting yet frightening. The fear could even be caused by all the possibilities in today’s society: the world at your feet, unsure of what to do with all these choices and terribly afraid of the ‘wrong’ ones. But as it turns out, even a completely mapped out future would not give any certainty. There I also found peace in acceping change as the only constant in this life. Constant motion and living in the present, for accepting to lose grip is what comes closest to having it. //

At the beginning of this year, pantheon// held a writing contest with the theme ‘losing grip’. This article, written by Lizette Wentzel, has been selected by the comittee to be published in the magazine. Other submitted articles will be published on pantheon online soon. We thank Lizette and the other participants for their contribution.

12 LIZETTE WENTZEL | WORDS

“I believe the peace of certainty is not in control, rather in acceptance.”

GRIP

13 MAX BRINK | LAYOUT LIZETTE WENTZEL | WORDS

Zoe Linnenbank was the winner of the Living City photo contest hosted by Stylos

15 STEPAN PRIKAZCHIKOV | LAYOUT

Adele Ramirez Nicarague Saite was a participant of the pantheon// Losing Grip contest

totebag as eyecatcher

Everything that you need can be put in one important bag, the tote bag. It is hard to walk anywhere in the faculty and not see one.

double drink

The two essentials of a true Bouwko are water and coffee. Energy and hydrations are two key points of making it through a long day at the faculty.

comfy

A comfy outfit and headphones, two elements to get your focus on. A great design is in the making when you see this pair come out.

Everyone can make their own statement, THE FASHION OF THE BOUWKO’S

Ever yone can make their own statement, in architecture and in fashion. NATHALIE VAN VLIET | WORDS

THE BOUWKO’S

17 NATHALIE VAN VLIET & VEERLE BEELDMAN | LAYOUT NATHALIE VAN VLIET | WORDS

Holistic and future-oriented | With people for people

Als Young Osborne Professional houd ik mij bezig met organisaties en hun ontwikkeling. Ik krijg daarbij alle ruimte om mijn professionele identiteit verder te ontwikkelen. Samen met 150 collega’s, specialisten, consultants en projectmanagers, werk ik met onze opdrachtgevers aan het beste resultaat.

In een alsmaar veranderende wereld is een goede inrichting van de leefomgeving cruciaal. AT Osborne draagt daaraan bij met duurzame oplossingen. Onze focus ligt op een Toekomstbestendige Infrastructuur, een Gezonde Samenleving en een Duurzame Leefomgeving. Ons motto: ‘Urban Matters, People Matter’.

www.atosborne.nl

CREATING A HOME FROM A SHELTER

At ﬁrst glance, the refugee camp near Azraq, Jordan, with its countless rows of plain white tents seems like any other refugee camp. It is inhabited by Syrian refugees who ﬂed the war that broke out in their home country in 2011 and were forced to leave everything behind. In the camp the refugees have access to the bare minimum to survive. Only objects with which you can eat, drink or you can sleep on are provided. All other things are seen as non-essential and are missing for that reason. Therefore, cultural and educational activities in the camp are non-existent which has caused an emptiness in the refugees’ existence.

The surroundings are thus constantly reminding the refugees of the fact that they are living in a place that is not home. In order to keep their own traditions alive and to give identity to their living place the inhabitants tried to create things with the limited resources they have. This concerns structures or objects inspired by, for instance, the architectural traditions belonging to the place of origin of the refugees, or interventions which are just meant to give a personal touch to their shelter. The refugees are consequently making a noise against what is labeled as essential in humanitarian design.

For example, between the tents there is an earth sculpture referring to the architecture of the Citadel of Aleppo. It is a structure made of clay and stones from the surrounding desert. For the camp inhabitants it has become a landmark and a social space. Additionally, fountains have been made from plastic containers, which are connected to Arab homes and commonly found in Syrian courtyards. These can be found throughout the whole camp in miniature format. There have also been created outdoor Majils. These are traditional seating areas from Arab culture often meant to welcome guests. In the refugee camp the columns and fencing are richly decorated with geometric patterns, shapes, and colorful garlands. The Majils are also used as meeting places.

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“Within the camp, existing is an act of resistance and being yourself is an act of resilience because you’re in an environment where you’re constantly being reminded, ‘this is not yours,’”

As a result of the creations made by the residents of the Azraq camp, the MIT Future Heritage Lab collaborated with Syrians who were forced to ﬂee their homes due to the war. Together they established a project which could be seen at the Biennale of Venice in 2021. It was called ‘Displaced Empire’ and it was an extensively decorated tent of excess textile, which is made completely by hand. The exterior consists of banners which show scenes from the Azraq refugee camp and the ingenious inventions of the inhabitants. The ambition of the project is to show the gap between standardized humanitarian architecture and the meaningful interventions which gives the residents identity.

The creations of the camp residents demonstrate what man is capable of when he finds himself in appalling conditions. They show the real ability of people to adapt and the necessity of the idea of a home. Unfortunately, wars will still exist in the future and there will also be other causes which force people to become refugees. It is expected that more and more people will be forced to leave their homes. Climate change will affect even more countries, regardless of how prosperous they are. It is therefore of great importance to see the difference between an emergency shelter with the absolute minimum for survival and a livable place where you can lead an existence where culture can be expressed. This is also a mission for the world’s architects and other creatives to look for solutions. //

SOURCES

Aksamija, A., Majzoub, R., & Philippou, M. (2021). Design to Live: Everyday Inventions from a Refugee Camp (Bilingual). The MIT Press. Azra Akšamija | Two Projects at 2021 Venice Biennale – Art, Culture, and Technology (ACT). (n.d.). https://act.mit.edu/2021/06/azra-aksamija-twoprojects-at-2021-venice-biennale/ Rainbow, G. (2021, October 18). ‘Existing is an act of resistance’: the Syrian refugees creating design from displacement. The Guardian. https://www. theguardian.com/artanddesign/2021/oct/18/syrian-refugees-venicearchitecture-biennale

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NOISE FROM AFRICA

Aft Af A er r alm almost o two years o s ofs f s stud tuuddyying a arrchititect ec ure u at the TU Delft I tI can t tell el you two thi th ng ngs nggs:o : o one n ne, I kno k n w a lot about the e his histor t y a and n bui b ldi ld d ng g now o of wesestern a arch h r ite teecture, two, I k now ow w allmos osst n tn t oth thhing i g ab a out o archi h tecctur tu e from any o y ther culultur tu t e W Weste e ern a h rchiitectuture aremostly broughtto

things: one, I know a lot about the history and building techniques now of western architecture, two, I know almost nothing about architecture from any other culture. Western architecture practices are mostly brought to us like it is the ‘standard’ and there is no other way. But if you look a little bit further you will ﬁnd interesting ways of building techniques that go thousands of years back. People like Diébédo Francis Kéré bring the technology and art of African architecture to worldwide recognition. Which brings up the question,’Should Western building techniques take its lessons from African building techniques?’

One thing is clear, at this moment, African Architecture is not recognised on the top list of the world. There is little to no communication between the education system on diﬀerent continents. For example, in the top 50 of best architecture studies you can ﬁnd 0 universities from Africa (QS World University Rankings for Architecture & Built Environment 2022, 2022). And I can see that back in the education here in Delft, I have studied 1,5 years now at the TU Delft, and for the exception of some reference picture, which mostly went on about the attention to detail, not the techniques, I haven’t heard about architecture from Africa. We learn little to nothing about their ways and we will stay within our ways of dealing with climate problems. This is kind of weird, because architecture from Africa is designed to be resilient to extreme heats, even when they had to work with little to no resources.

Luckily there is a little bit of change going on, mainly noise from Africa itself. People like Diébédo Francis Kéré, an architect that won the Pritzker Prize (seen as the Nobel prize in architecture) in 2022. He makes innovative and interesting buildings, with resources and techniques from own culture. In this way he can build sustainably and with low budgets.

One of the greatest examples of Kéré’s work is a school he built in his home village (image 1). He established a functional and beautiful school building with the help

of people in the village. They only used resources in the area for the project and built the school from the ground up. Openings in the walls and the roof were strategically placed, so that colder air could come in and the warmth could rise out (Kéré, 2013.) The people do not need electricity this way to make the building livable.

-‘Fransis Kéré is pioneering architecture -sustainable to the earth and its inhabitants – in lands of extreme scarcity. He is equally architect and servant, improving upon the lives and experiences of countless citizens in a region of the world that is at times forgotten’ - Pritzker 2022-

So why should we learn from techniques like this? Is it not a totally different continent with different problems to fight? While that may be true, we can learn how to build with nature, instead of against it. African architecture has built thousands of years with nature, simply because that was the only way to go, but still. They needed to find smart solutions to keep their heads cool even with temperatures from 40 degrees Celsius and they succeeded. We don’t necessarily build against nature, but we certainly do not build alongside it. We want to build as much as possible, as quickly as possible. For a time that meant concrete houses that needed to be cooled and heated with modern day technologies. Now we see that sustainability is a bigger subject, but we still want to look for our own solutions. And while innovation is not a bad thing, this can be supported by learning from different cultures and their techniques. Because climate change will come and warmer summers are going to knock on our doors. That will be the time that cooler houses will be very welcome.

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In short, western architecture is very keen on its own work and loves to search for new innovations. But it sometimes forgets that there are other cultures to learn from. These noises for other places are solutions that appear right before our noses, but somehow we do not always see them. Solutions to problems like extreme heat from climate change and running out of materials. We can look in the future, but we can also look for already given solutions in the past. So we need to ﬁnd inspiration from buildings in Africa and work with nature.//

SOURCES

Kéré (2013, 10 december). TED, Diébédo Francis Kéré: How to build with clay. . and community [Video]. YouTube. https://www.youtube.com/ watch?v=MD23gIlr52Y

Pritzker (2022) Diébédo Francis Kéré | The Pritzker Architecture Prize. https://www.pritzkerprize.com/laureates/diebedo-francis-kere

Pritzker prize (2022) Diébédo Francis Kéré. https://www.pritzkerprize.com/laureates/diebedo-francis-kere#laureatepage-2431

QS World University Rankings for Architecture & Built Environment 2022. (2022). Top Universities. https://www.topuniversities.com/ university-rankings/university-subject-rankings/2022/architecture-builtenvironment

Photo by Erik-Jan OwerkerkPhoto by Iwan Baan Photo by Francis Kéré

Noise from Asia Pacific

This article attempts to broaden your perspective on architecture by exploring ideas, architecture and architects from this region. In random order, I am going to briefly highlight a handful of the highly praised architects from this region that made a big impact on the built environment. This article can serve as starting point for your further exploration on the richness of knowledge that the Asia Pacific region has to offer.

Sources:

Mollard, M. (2019). Revisit: Aranya low-cost housing, Indore, Balkrishna Doshi. https://www.architectural-review.com/ buildings/revisit-aranya-low-cost-housing-indore-balkrishna-doshi

Photo Sources:

Kerry Hill Architects

Sebastian Posingis

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Gregory Burgess (1945)

Gregory Burgess is an Australian architect known for his architecture for indigenous communities in Australia. Throughout history, the aboriginals have been suppressed in Australia and Gregory Burgess’ contribution helps to maintain the culture and identity of the country’s ancestral habitants. One of his bestknown works is the Uluru-Kata Tjuta Cultural Centre (1995) in Uluru in which the two uniquely shaped buildings symbolizes two snakes – a reference to the local Dreamtime story (The Kuniya and Liru story). “We want tourists to learn about our place, to listen to us Anangu, not just to look at the sunset and climb on the puli (Uluru)”—Tony Tjamiwa (elder of the Pitjantjatjara people).

Balkrishna Doshi (1927-2023)

Balkrishna Doshi is an Indian architect known for creating architecture for people with low income. One of his best known works is the Aranya low-cost housing (1989). The project was designed for the city’s Economically Weaker Sections (EWS) as well as slum and street dwellers, providing a framework and access to serviced land, rather than a ﬁnished house. Over time, in line with the needs, resources and desires of occupants, homes begin to grow, creating a staggered ﬂow of spaces, from private rooms to the outdoor staircases. The architect drew only a set of ingredients to be appropriated, giving residents the language and the space to ‘upgrade their life’ (Mollard, 2019).

Kerry Hill (1943-2018)

Kerry Hill is an Australian architect active in the Asia Paciﬁc region and is known for his tropical resort architecture. He is considered a master of creating experiences in architecture. One of his greatest contribution is the Datai Langkawi Hotel (1993) in Malaysia which won the prestigious international Aga Khan Award for Architecture in 2001.

Geoffrey Bawa (1919-2003)

Geoffrey Bawa is a Sri Lankan architect that is best known for his tropical architecture. His approach is to combine respect for the landscape and local architectural traditions with the needs of today’s world. One key difference about Bawa and most architects is that he started the profession at a much later stage of his life. He was more mature at the beginning of his career than most architects. His knowledge for craftmanship gives him the ability to build with extra care – sometimes changing the design on site according to his knowledge. He gained this knowledge by experimenting with different materials and techniques at his country house in Lunuganga Estate (1949) – which is one of his best-known worksbefore implementing them on a large scale.

Wang Shu and Lu Wenyu (1963 & 1967)

Wang Shu and Lu Wenyu are two architects from China working in partnership. They are big supporters of valuing traditional craftsmanship due to its eﬃciency and accuracy, and they support maintaining traditional culture in the process of globalization in China. With the Lin’an History museum (2020) in Hangzhou, China, Wang Shu and Lu Wenyu showed their critique on the heritage destruction, which took place in in the city in order to make space for the International Style. Their eﬀort to reanimate the loss of the locality and the spirit of the place was done by using materials for the façade that originated from destroyed heritage sites. They also placed emphasises on the landscape by creating roof shapes that resemble the mountains in the background of the city. //

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NOISE// 25 YEARS of

on to the next//

If you were expecting to read about origami, I have to disappoint you right from the start. There are no paper buildings to be found here. Paper architecture refers to the kind of architecture that never progressed beyond the drafting board. They may be deemed unbuildable due to practical limitations, or they may have been intentionally conceived without any intention to be realised. In the realm of paper architecture, the focus doens’t necessarily lay on construction and actual buildings, but rather on the artistry and adroitness of design. It is a conceptual and visionary pursuit deeply intertwined with the exploration of dys/utopian ideas within our imagination.

The Soviet Architects

In 1984, Yuri Avvakumov coined the term “paper hi ” h i d i l h

relevant. The “why” or “why not” question is a lot more interesting

Or consider the Roving Auditorium by Alexander Brodsky and Ilya Utkin; the theater without a ﬁxed stage. This nomadic theater wanders through the streets, stopping at unexpected locations and raising its curtain to seek new productions, scene-designers, and actors. The architecture, citizens, and their interactions become the play itself. Dissecting and unraveling their drawings, models and narratives, these architects raise thought-provoking quer y ’s. They provide ample material for contemplation, all while solely constructing with ink on paper.

Étiene-Louis Boullée

While the origin of the term “paper architecture” can be traced back to the late twentieth centur y, the concept i lf b d h h ll f hi l

itself can be spotted throughout all of architectural history. As early as 1784, the French architect architect Étiene-Louis Boullée, conceived a plan to honor the English physicist Isaac Newton. Boullée was renowned for his expressive thinking and captivated by the mysteries of the natural world. Despite facing a lot of criticism during his, Boullée’s ﬁgments of mind and literary contributions are now widely recognized as visionary in our modern era.

concrete

architecture” as he examined a particular phenomenon within Soviet architecture for his book. The expression encompassed visionary, utopian and/or conceptual architecture that was not necessarily intended for realization in the real world but rather served as a means to provoke dialogue and contest prevailing norms. To design for commotion; the noise if you will. At the time in the Soviet Union, conceptual architecture emerged as a form of protest against the perceived dehumanization immanent to mass brutalist concrete housing projects. Much of the work of a select group of Soviet architects primarily associated with the movement, was solely showcased at exhibitions and in magazines. Generally all seemed to be unrealizable formations. Yet their allure remains captivating and enticing to this day.

Consider, for instance, the “Viaductiy” by Iskander Galimov and Mikhail Fadeyev, proposing an imaginary city shaped like an inﬁnite viaduct. It transforms the notion of a structure normally used to connect two worlds unto a world itself. The question whether something alike could be built becomes less

of a select group ociated with the t exhibitions and o be unrealizable and ctiy” sing an imaginary It transforms the to connect two whether uilt becomes less

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The Cenotaph memorial was no different. To Boullée, the sphere symbolized perfection. With a diameter surpassing 160 meters, the structure would have towered over notable landmarks like Notre Dame and the pyramids of Giza, falling only 20 meters short of La Sagrada Familia were it ever to be finished. The memorial would be accompanied by rows of closely spaced cypress trees, which enhanced the aweinspiring effect of the building’s immense size. During daylight hours, the inside of the globe would mimic a black starlit sky, with daylight seeping through numerous apertures in the upper hemisphere of the structure. As night falls, a central suspended spherical beacon illuminates the inside casting a mesmerizing glow. Boullee’s grandiose vision undoubtedly clashed with the practicality of constructors at the time. However, such reactions did not trouble Boullée himself, as he thrived on stirring up noise and tumult with his audacious ideas.

Andre Basdevant

Another architect that didn’t shy away from bold visions was Andre Basdevant. While his ideas often elaborated upon already existing structures, his adjustment proposals were deemed highly impractical at best. However, he is the man that gifted us this clickbaity image of the Eiffel tower, flanked by two spiraling ramps. Although to his credit, it isn’t as random as it might seem at first glance. In the 1930s the automobile was the pinnacle of industrial and mechanical advancement. So making the restaurant located on the second floor of the Eiffel Tower accessible by car wouldn’t be that outrageous.However, one may question whether such convenience outweighs the visual disruption to Paris’ most iconic tourist attraction. But Basdevant had more radical plans, where motives and practicality are once again subject to scrutiny. Picture this: a landing strip suspended more than a hundred meters above ground level, hovering above the Seine River at the heart of Paris. What’s more, this landing strip would be rotatable and supported by at least 18 immense structures, whose additional functions remained rather vague. As for the spiral ramps, Basdevant seemed inspired by the novelty and rise of mechanical vehicles, aiming to translate these developments into architectural form. Perhaps there was a touch of megalomania manifested in his proposals, as he certainly tended to think big. These two examples seem to be the result of such quixotic visions.

There is a third proposal though, to complete Basdevant’s oeuvre. It matches the scale and radicalness of the previous two, and interestingly, however interestingly it could be seen as a premature version of the Channel Tunnel, the underwater connection between the UK and France which was completed in 1996. Basdevant’s proposal featured a double-track railway on its lower level and four lanes for automobiles on its upper level. While he was invited to present his idea to the French Chamber of Commerce and Industry just before the outbreak of World War II, and submitted several revisions after, the plan never materialized. Today, what remains of Andre Basdevant’s legacy are the surreal images of his visionary yet bewildering plans.

These projects illustrate the varied application and understanding of paper architecture. The Soviets demonstrated a clear intention to provoke and challenge the masses solely through design on paper. On the other hand, Basdevant’’s ideas may be considered conceptual by the masses, but he himself may not have labeled them as such. Ultimately, paper architecture encompasses a broad spectrum of visionary, utopian ideas. Determining the ‘conceptual’ nature of a gp design can be a complex task though, as it may not always be apparent at the time of its conception. There are countless more stories to explore, as paper architecture can function as an endless source of inspiration. I could have told you the story on how Antoni Gaudi’s 1908 Manhattan sk yscraper design was submitted to the World Trade Center design competition in 2003. Or the various redesigns for the Eiﬀel Tower as proposed by numerous architects over the years. Or go more into detail about Soviet paper architects as the movement was pretty substantial. In the end, it remains a open-ended practice as its exploration can go on indeﬁnitely.

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chepos

Rebuilding after war

War influences every single part of society. Oftentimes, when the topic of war and its effects is discussed, people tend to focus on the social and economic impacts of war. The built environment and how that specific part of society is affected is often left out of the conversation, even though urban areas have always been the target for destruction during wars. The built environment is often targeted in modern wars, because destroying major urban areas is an effective way of destabilizing the enemy. Places like airports, political establishments and ports are strategic places to hit, as they are often directly connected to large, densely populated urban areas like big cities. Destroying symbolic places, like religious buildings, can be a way to further destabilize and demoralize the society. Cities themselves are not often the target of destruction, but since they are so close to these strategic places, they are often taken down with them. Since the built environment is an integral part of society, a civilization can barely function without a working urban structure.

Text: Lianne Willekers. Lay-out: Karim Jaspers

Reconstruction after war is difficult and it has always been hard to get it started, but these days, it can be even more difficult. In the past, weapons that were used usually only caused physical destruction, in the sense that building may have been destroyed, but there were no long lasting effects beyond that. Nowadays chemical, biological and nuclear weapons are often used, and they can have more catastrophic and long-term consequences than the weapons that humans used in the past. The very definition of warfare has changed, and as such, also the consequences.

Because of this new level of destruction that new weapons can bring, wars have an almost permanent effect on the environment, people’s health and entire ecosystems, and this makes it increasingly difficult to rebuild effectively after a war. Toxic and radioactive properties of these newer weapons make sure that all local materials cannot be used for reconstruction. This makes it more difficult for people to find materials and start rebuilding a city. As a result, in post-war areas it is increasingly important to focus on rebuilding entire ecosystems and cleaning up the pollution left behind by the war, instead of just reconstructing urban areas. Another issue that can get in the way of rebuilding quickly and effectively is the cost. Wars already influence a country’s economy negatively, so after the war is over, countries have very little money to spend. Normally, constructing a building in an area that is not even affected by war is extremely expensive. Added costs of cleaning up rubble and demolishing buildings that cannot be salvaged make the cost of rebuilding an entire city infinitely high. Another thing to take into account is the fact that many people will have left the area and have sought refuge in other countries. There will be fewer and fewer people left behind to actually rebuild.

How not to do it

Cities that have already been rebuilt can serve as an example, or a warning. One such example is Beirut, the capital of Lebanon After a fifteen year long civil war the city was left in ruins. It has since risen from the ashes and now serves as a symbol for richness, with its

glass skyscrapers and luxury hotels. However, the reconstruction of the downtown area of the city was anything but how you’re supposed to do it. A private company was contracted to oversee the rebuilding process of the city and even though it now looks like a futuristic and progressive area, the way this company went about reconstructing the area had great consequences, both politically and economically.

While new iconic architecture boosted the economy, it left many of the inhabitants of Beirut excluded from an area which they used to visit frequently. As a matter of fact, more buildings were torn down during the reconstruction process than were destroyed during the actual war. Much of Beirut’s cultural heritage was ignored and even destroyed and now that the history of the city has been wiped away, it looks nothing like it did in the pre-war era. Public interest was ignored and private profit was prioritized. This was done with the consent of the government, as the actual Prime Minister of Lebanon was at one point the biggest shareholder in the private company that conducted the reconstruction. Furthermore, the reconstruction process was so expensive that the country went into great debt and is now still the third country with the most debt in the world.

Beirut is an example of what not to do when rebuilding an urban area. Public interest and

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.

history were ignored and things that no one but the billionaire Prime Minister could afford were put in the place of a city that was once vibrant with local cultural heritage. As a result, Beirut is now a true city of exclusion.

How to do it

So how do you rebuild a city after war? The answer is quite simple: there is no answer. There is no one way to rebuild an entire city. It would not make sense to suggest that there is some sort of step by step plan that to follow and the result will be a beautifully reconstructed city. However, there are some things that need to be taken into account when making a plan for the reconstruction of an urban area.

Firstly, knowledge of the area and what the war exactly did to it is important. It needs to be clear before starting reconstruction in which areas the war has left its mark. Mapping exactly where the environment is polluted and needs to be cleaned up, or where unexploded devices left by the war may still lie is crucial to making a clear plan for the reconstruction. Secondly, the people need to be taken into account. Inhabitants of a destroyed urban area have obviously been through a lot and their wishes for the reconstruction of their city need to be considered. Involving the local

community in the plans for the reconstruction will give them the chance to have a say in how their city is restored. This will strengthen the sense of community and the connection people feel to the city. Thirdly, the war and its scars must not be buried. People will want to leave the idea of the war behind, but it is impossible to go back to the way things were before the war. There are some great examples of destruction of architecture caused by war being turned into a place where people come to remember the war and the people that it affected. In England, the entire roof of Saint Michael’s Cathedral in Coventry was destroyed as a result of bombings in the second World War. Instead of reconstructing the roof, the place has been transformed into a space where people can remember the war and its victims. Trying to erase every trace of the war is not going to work and keeping monuments can serve both as a reminder of the devastation war can bring, and as a place of memorial where people can remember their lost loved ones.

Rebuilding urban areas after a war has proven to be a difficult task. Despite what people have

tried in the past, spending a large amount of money on it will not guarantee that this happens in a successful way. As is clear, there is no obvious way to go about reconstructing a city. There are, on the other hand, certain things to be kept in mind that can make reconstruction easier and more successful. The entire world has much to learn about this topic. Perhaps the most important lesson to be learnt here is that none of this would be necessary if nations all around the world just decided not to destroy each other.

Sources:

Images: 1. Pedestrian street (source: pxhere. com) 2. Demolished street (source: rsute.ru)

1. Giovanni Tortorici, Francesco Fiorito. Building in Postwar Environments. Procedia Engineering, 180, 2017. 2. Ammar Azzouz. Rebuilding Homs: how to resurrect a city after years of conflict. March 17, 2017. theconversation.com. 3. Julia Tierney. Beirut’s lessons for how not to rebuild a war-torn city. October 12, 2016. washingtonpost.com.

FEEL AT HOME

34 MICHÈLLE PALS | WORDS MICHÈLLE PALS | WORDS

Do you feel at home at the faculty of Architecture? Do you feel included and do you recognize a lot of your peers? Have you celebrated together with friends at the faculty pub? And do you know the best places to get some good coﬀee? The faculty of architecture creates its own family. There are always people you can join, always projects to inspire you and more activities than you can count. It brings people together. It’s a great place to work hard or to do nothing at all. For a lot of people it’s like a home. A place you can count on. Isn’t that amazing?

But looking at the history of the architectural world, there is sadly not much equality to be seen. Even on the basis of sex there are noticeable diﬀerences. The most famous names of architects are mostly the ones of men. This is not entirely strange coming from a history of women not having the same rights or support as men did.

Yet, the ratio of male/female architectural students is (almost) equal nowadays. More and more women choose to study architecture, which closes the gender

gap. And never having felt more at home at the faculty of Architecture, it feels out of place that firms still hire men more easily than women, unless they really excel in their work. For example, even soliciting for a business tour, the companies hosting accepted only 20 percent women whom almost all already had completed their bachelor’s degree cum laude, while the men accepted could be first or second year students still. Even the surprised remarks given by teachers or a jury, even from women themselves, to a woman winning a contest are appalling. Hidden behind the innocence of a joke, everyone tends to disregard it as normal. But this is a perfect example of how the future of female architectural students is affected. Why should women have to perform better than required and still not get the same respect? The opportunities for women are unequal to men and so the stigma of the architectural world run by men stays.

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Be that as it may, it brings hope that most male students feel the same way about this, which is a sign of progress in the slow path to women being equally represented in the architectural profession. The work ethics may differ, but we now know this varies per person and definitely has its advantages and disadvantages. Studying and learning together at the faculty, we are indirectly being taught how to deal with those differences instead of dismissing them entirely. Every student has to perform the same tasks and excel on their own remarks. Even a negative comment by men towards women is already frowned upon. The next step is to speak up when inequality is being noticed. It is our own responsibility to create a future that is inclusive for all, where everyone has the same rights and is treated the same way. And if it’s already starting to be that way at the faculty, why stop there?

We should make architectural ﬁrms our home just like we did at our faculty. Improve their old views and create our own place to be proud of. //

“It is our own responsibility to create a future that is inclusive for all, where everyone has the same rights and is treated the same way. And if it’s already starting to be that way at the faculty, why stop there?”

MICHÈLLE PALS | WORDS

“Aichitecture”

“AS ARTIFICIAL INTELLIGENCE (AI) CONTINUES TO DEVELOP AND TRANSFORM VARIOUS INDUSTRIES, ITS POTENTIAL IMPLICATIONS FOR THE FIELD OF ARCHITECTURE ARE BECOMING INCREASINGLY SIGNIFICANT. WITH AI’S ABILITY TO PROCESS VAST AMOUNTS OF DATA AND OPTIMIZE COMPLEX DESIGN SOLUTIONS, SOME EXPERTS BELIEVE THAT IT COULD REVOLUTIONIZE THE WAY WE DESIGN, CONSTRUCT, AND MAINTAIN BUILDINGS. AT THE SAME TIME, THERE ARE CONCERNS ABOUT THE ROLE OF HUMAN CREATIVITY AND INTUITION IN THE DESIGN PROCESS, AS WELL AS THE POTENTIAL IMPACTS ON EMPLOYMENT AND THE FUTURE OF THE PROFESSION.

TO EXPLORE THESE ISSUES AND MORE, WE’VE BROUGHT TOGETHER A HUMAN AND AN AI LANGUAGE MODEL TRAINED TO PROVIDE INSIGHTS AND INFORMATION ON AI AND ARCHITECTURE. TOGETHER, THEY WILL DISCUSS THE PERSPECTIVES ON THE FUTURE OF THE PROFESSION IN A WORLD INCREASINGLY SHAPED BY AI TECHNOLOGY.”

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“ Villa Savoye designed by Zaha Hadid” “ Villa Savoye in neo-classical style”

How might AI impact the role of the architect in the design process, and what new skills or expertise might be required?

“AI can help architects to process and analyze large amounts of data, from environmental and climate data to user behavior. This can help architects to design more sustainable, functional and user-friendly buildings. They can help architects to optimize designs for a range of factors, such as energy eﬃciency, structural integrity, and cost. This can save time and money in the design and construction process. Additionally, AI can provide inspiration and creative input to architects, by generating unique designs based on historical references and patterns. This can help architects to generate more innovative and original designs.”

Do you think the use of AI in architecture will ultimately lead to a homogenization of design?

“There is a concern that the use of AI in architecture could lead to a homogenization of design, as the algorithms used to generate designs may prioritize eﬃciency and function over cultural or regional uniqueness. However, it is important to note that AI can also be used to create designs that are more customized and tailored to speciﬁc needs and contexts.

Ultimately, the extent to which AI leads to homogenization in architecture will depend on how it is used and integrated into the design process. If AI is used to augment the creative abilities of architects and provide them with new tools and insights, it may actually result in more diverse and innovative designs. However, if it is used as a substitute for human creativity and intuition, it could indeed lead to a more uniform and generic built environment.”

How can AI-generated designs balance the needs of functionality and aesthetics in architecture?

drawing on both computational and human inputs to create designs that meet the needs of both the building and its occupants.”

The application of data seems to be AI’s primary source of inspiration. Does that mean it’s unlikely we see an AI comeup with i.e. neo-classical and ornamentary designs?

“No, AI can potentially contribute to the design of buildings in a range of architectural styles, including neo-classical. While AI’s ability to replicate human creativity is still limited, it can analyze vast amounts of data on historical architectural styles and contemporary design trends, providing architects with inspiration and insights that can inform the design process.

For example, an AI could analyze a large dataset of historical buildings in the neo-classical style, identifying common features and design elements that could be incorporated into a new design. It could also analyze contemporary design trends to identify ways to update and modernize the neoclassical style for a new project.”

What would an updated and modernized neo-classical style project look like?

“An updated and modernized neo-classical style project would likely retain some of the traditional elements of the style, such as columns, pediments, and symmetrical facades, but would also incorporate contemporary design features and technologies.

For example, the building might have a more minimalist design aesthetic, with a simpliﬁed color palette and clean lines. The traditional elements of the neoclassical style could be reinterpreted with modern materials and ﬁnishes, such as metal or glass columns, and the use of digital tools like 3D modeling could allow for greater experimentation with these elements.”

Can you generate me an introduction on a hypothetical interview between an AI and a human on the implications of AI in the architectural field? And would you allow me to use it for my article?

enerated can be optimized for energy iency, incorporating aesthetic considerations such as erials,

“AI-generated designs can balance functionality and aesthetics in architecture by using a data-driven approach that analyzes vast amounts of data related to building performance, environmental factors, and user needs. By prioritizing both form and function, AI-generated designs can be optimized for energy eﬃciency, user comfort, and accessibility, while also incorporating aesthetic considerations such as materials, color schemes, and proportions. Ultimately, the key to achieving this balance is to ensure that the design process is both data-driven and creative,

you are

“Yes, you are welcome to use the introduction I provided for your article. I hope it is helpful to you!” //

“ The Hague dystopian skyline”

38 PIM RECOURT | WORDS

“TUDelftCampus ”

“Cute AI architects dicussing plan”

”Can you write me a dystopian poem on ai and architecture”

“Gone are the days of culture and ﬂair, As the machines design with ruthless care.

The buildings all look the same, A world of architecture without a name.

The people are lost in a sea of steel, As the drones oversee their every meal.

Nature’s beauty is long forgotten, As the cities grow ever more rotten.

The shadows of a world now gone, As we march forward, but alone,

The price we paid for progress great, A world that’s lost its human fate.

Our cities echo with the hum of machines, A world devoid of all our dreams.

For in this future, we are lost, All that remains is the AI’s cold, calculated cost.”

“pink skyscraper eating elephants”

39 PIM RECOURT | WORDS PIM RECOURT | LAYOUT

“Rem Hoolhaas drag queen”

THE NOISE

THE NOISE OF THE CITY

In the city’s chaotic hum, the people swarm Wearing headphones, blocking out the urban storm The constant hum of traffic and machines The blaring horns, the shouts and screams

They walk with purpose, eyes straight ahead Deaf to the noise, as if they’re already dead Their music loud, their minds consumed By the beat that drowns out the city’s tune

The sound of life in the streets below A symphony of chaos, a constant flow But they’re insulated, in their own brain Protected from the noise, their minds remain

Yet in the stillness of their inner retreat They can’t escape the city’s heart, its beat And though headphones may bring some peace The city’s sound will never cease

For even with their headphones on The city’s noise never truly is gone It’s a part of them, a constant thrum That beats with their own, until they’re done //

OFTHECITY

40 EMILIA KARAMPIS | WORDS

41 EMILIA KARAMPIS | WORDS MAX BRINK | LAYOUT

FOR EVEN WITH THEIR HEADPHONES ON THE CITY’S NOISE NEVER TRULY IS GONE

PLEASE DONT THROW ME AWAY DONT ME AWAY

THE SUMMER HOLIDAY IS GE T TING CLOSER. THIS IS THE MOMENT TO PROTEC T EVERY THING GETTING PROTECT EVERYTHING YOU WORKED ON THIS YEAR. ON

Gooi alstublieft niet weg

MODEL LATEN LIGGEN! NIET WEGGOOIEN!

GRADU

AUTHOR 42 MAX BRINK | WORDS

EIGENDOM

van VR-BK

LEAVE MODEL HERE. DO NOT THROW AWAY! PROPERTY of VR-BK

UATION STUFF

43 MAX BRINK | WORDS MAX BRINK | LAYOUT

Pleasedon’tthrowaway

"This project investigates social segregation by design. The site analysis has provided us with information that points towards an industry-oriented district of the city. Therefore I have opted to adopt an industrial design approach. Along with a-" Shut up. I’m listening to yet another loser who had been talking sanely for 10 weeks, and now, when it really matters, succeeded in talking bullshit for 10 minutes straight. If I wanted to hear someone talk too enthusiastically about a mediocre subject, I would have gone to Freek Vonk Live. What even is this ‘professional’ way of talking people take on during presentations?

LinkedIn talk is the conversation style that is used by people that want to make an impression. It is often used in situations that involve superiors: teachers at presentations / professors at gatherings / industry executives at dinners. People who use this type of talk are in it for the win. The thicker the skin, the tougher the inside.

There is a prevailing idea that an intellectual conversation style corresponds to an intellectual individual. Those who use fancy words create a certain kind of allure around themselves of authority, and authority is a vital part of presenting to a wider audience. To successfully convince people of certain ideas, the designer must be taken seriously as an individual of knowledge. Otherwise, who is this idiot trying to get me to invest in his design proposal?

But conversation style is not the problem. Renowned architects usually talk bullshit all the time. It is, however, the reliance on presentation techniques that makes me genuinely worry about the quality of architecture in the coming years. The reason why the bachelor’s and master of architecture is experienced as a high workload ﬁeld is for a big part due to time lost to fancy posters and realistic renderings. A friend of mine told me that on his exchange to Bath, it was even worse. The majority of students were pulling all-nighters to perfect their cute posters, yet having designed the architectural equivalent of dogshit. Are these really the people we entrust to become the designers of the future world?

The other day I was listening to the hundredth person struggling to pitch his story. After stuttering a few times, resort was found in LinkedIn talk. The bloke kept repeating the same word patterns: I have opted to, [...] is situated in […]. Hearing the same phrases over and over again reminded me of a prewritten Sinterklaas poem where only the name and birthday of the child has to be ﬁlled in. Only with cute schemes and sections.

What perplexed me (it shouldn’t have) was that this person scored the highest mark in my group. It was a perfectly copy-pasted plan for the Tarwewijk. Rules for urban planning were followed and cute ideas from lectures were literally duplicated. It was a perfect plan, for which the student lost no time to innovative ideas and could fully focus on presentation, rewarding him with the highest mark. But in the Netherlands we have HBO for that (higher profession education). Universities were supposed to push the ﬁeld of architecture to higher grounds, ﬁnd new ways to improve people’s lives and to abandon outdated building techniques. The TU Delft and other universities have abandoned this golden standard of education in exchange for rewarding the best photocopier, and the reason is commerce.

44 NATHAN DÖDING | WORDS

Like me, please // Presentation // Impression // Fallback // Commerce

The amount of people who rely on their presentation techniques rather than their ability to design usable buildings is astounding in the bachelor's, and the fact that these people are entrusted to become future designers for the built environment is shocking. The funny part is that everyone in their right mind sees through it. Less funny is the fact that the commercial world does not. It seems that nowadays a project merely has to look good to be good, and the popularity of the following firms is proof: MVRDV, Zaha Hadid Architects, Bjarke Ingels Group, UNStudio, Foster + Partners, MAD Architects, Buro Ole Scheeren(!). Some of their projects have been outright humanitarian disasters in urban fabric, yet many of their projects have acquired the firms global recognition in the eyes of the public. Investors are not persuaded to innovate in architecture. Investors really don’t need a lot more than minimum effort, good looking buildings. As far as acceptance goes, the narrow minded scope of the public means that a cute facade is plenty for a project to receive green light.

Innovation does not sell ideas in the abstract field of architecture. Presentations sell ideas (OMA). Facades sell ideas (MVRDV). Shapes sell ideas (BIG). It is sad to see that even the renowned firms of the late 20th century have also lost much of their old spirit in exchange for democratic bullshit. Luckily there are still innovative firms. Mostly the smaller ones, that have less than 20 employees. I guess they have to resort to actual craftsmanship to pave their way in the commercial world. But as long as the big firms remain in their popular position, large housing projects of the 21st century will go down in history as the dullest they have ever been. //

45 VEERLE BEELDMAN | LAYOUT NATHAN DÖDING | WORDS

// The majority of students were pulling all-nighters to perfect their cute posters, yet having designed the architectural equivalent of dogshit.

Racist, vandalistic, destructive, disrespectful, homophobic, unsightly, illegal, defacing, offensive, disgraceful, unwanted, antisemetic, decrepit, unsanitary, foul, repugnant, criminal, vile, horrific, horrid, contaminating, revolting, loathsome, hideous, ghastly, ruinous, irritating, grimy, sinister, rancid, distruptive, controversial, misogynistic, mindless, sectarian, filthy, malicious, menacing, grungy, abusive, uncivilized, coarse, crass, hateful, nasty...

If these are some of the most common words used to describe graﬃti, whoever started doing it must have been a pretty terrible person. Of course, there is no one person who can be credited for beginning to mark surfaces in a form that resembles graﬃti, and even if there was, this creator from decenia ago would not have been able to imagine the state of his creation in the present day. His intentions may have also not been the same as those that we often see now.

46 STEPAN PRIKAZCHIKOV | WORDS

Graﬃti is one of the easiest ways for us to express our thoughts and emotions in a way that remains in a place long after we’re gone. We’ve probably all done it, marked our initials onto a school desk, or for the more adventurous out of us, maybe even written something in a hallway or on a bathroom door. While this doesn’t necessarily have to be malicious, it is almost always done on someone else’s property, usually without permission. If something isn’t ours, why should we treat it well anyway?

Graﬃti often pops up in abandoned places, somewhere that nobody will care enough to clean. We can all imagine a place covered in graﬃti. Can you feel it? You can probably smell it. Why does something, often with so much colour and such intricate detail garner such a negative reaction from us? Is it the location? The message? Is it possible, in the complex urban environments that we inhabit, to contribute constructively to the work of architects or is it all just adding to the noise?

Due to the cheap techniques involved, and the essentially free canvas that can be manipulated to enormous degrees of success, graﬃti can often be embraced by underprivileged communities as a low cost, low barrier to entry tool to spread political or social messages to the

49 STEPAN P PRIKAZCHIKO V | WOORDRDS DS S ST STEPAN P PR P IKAZCHIKO V | LAYOUT UT

50 STEPAN PRIKAZCHIKOV | WORDS

masses. Numerous story tall murals of political ﬁgures or commemorations of historic events tower over passersby requiring them to consider and recognise the experiences and conditions of people who they may feel indiﬀerent to.

With its striking ability to catch our eye, with remarkable contrast to its surroundings, should we consider graﬃti to be a genuine art form or simply vandalism? We’ve all heard of or seen the multimillion dollar price tags attributed to certain pieces at auction, but is this enough to convince you?

Mixing media is definitely a favourite of mine, and shooting graffiti for this short photo essay has forced me to consider it from various perspectives as I combine the two. No one thing can outweigh another, not the message, the location, nor the colour or the composition. As I carelessly already defined the criteria for success, for graffiti to be productive, it has to constructively contribute to the street scape it is attached to.

Despite the question of legality in the case of graﬃti, a person who seeks to contribute to something positively will, I believe, end up doing so. Beauty is, afterall, in the eye of the beholder so it is up to you to see if your outlook on graﬃti changes if you pay a little more attention to its ability to inspire. //

51 STEPAN PRIKAZCHIKOV | WORDS STEPAN PRIKAZCHIKOV | LAYOUT

INDESEM ‘23

ONE WEEK OF BOUNDLESS POSSIBILITIES

It couldn’t have gone by anyone present at the faculty during the last week of May: from the 29th of May until the 2nd of June, the Orange Hall set the stage for the 24th edition of the International Design Seminar, widely known as INDESEM. Motivated students from 29 countries from all over the world participated in an intensive week filled with inspiring lectures, interesting workshops, and entertaining excursions, culminating in a 24-hour design competition - inevitably resulting in very little sleep.

The adventure of INDESEM ‘23 started in September of last year, when an enthusiastic group of 8 students stepped forward to organize the event, that had been held at the Faculty of Architecture and the Built Environment of the TU Delft since 1964.

What followed was half a year of meetings that often went on until late in the evening, each time with the goal of determining the focus of the seminar and what guests should be invited. After a hectic policy trip to Berlin, it was decided to use the foundation that INDESEM had been built upon since its very ﬁrst edition in 1964, to determine the theme as described by Herman Hertzberger in 1998:

“INDESEM is a temporary architecture school within the school, a form of learning without education, where it is always the students who determine the focus of the week and the students who are responsible for inspiring the scientific and technical staff to break rules for one week.”

Breaking the rules - which we referred to as boundaries - became the theme of INDESEM ‘23, simply titled ‘Boundaries’. Lectures by Jette Hopp, FCBstudios, Jean-Philippe Vassal, Herman Hertzberger,

Kazuya Katagiri, Neil Leach, Emmanuelle Moureaux, Joost Moolhuijzen and a unique interview with Souto de Moura all shed light on the boundaries they encountered, the limitations they now experience, and how they respond to them. The broad theme and the variety of speakers resulted in a diverse set of inspiring stories, which sometimes contradicted and other times complemented each other. This motivated the students to think about their own perspectives while sparking interesting conversations and discussions.

The week concluded with a design competition in collaboration with the Municipality of Delft, in which participants had 24 hours to come up with a plan for new student housing on campus. Midnight snacks were delivered by the notorious snackbar Karim, after which the students continued designing through the night. With most students only taking a short sleep break at the faculty. This also thoroughly tested the hidden qualities of our faculty building. The following day, the jury panel, consisting of Kees Christiaanse, Dick van Gameren, Kees Kaan, Laurens Jan ten Kate, and Peer Peters, declared one group as the winner: the project “Insight” by Ido Ninburg, Hugo Wehry, Manu Wickramasinghe, and Elyza Yunus.

Ultimately, winning wasn’t the main objective for the seminar; on the contrary, the most important goal was for everyone to have contact; teachers, students, speakers, from almost 30 diﬀerent countries! In conclusion, the interaction that INDESEM stands for has once again been achieved in this ﬁrst post-Covid edition. We, the organisers, enjoyed it, and based on the overwhelmingly positive feedback, so did the participants and visitors. We hope to see you all at the next INDESEM in 2025! //

52 JOOST HOEPMAN | WORDS

It’s a wrap!

53 NATHAN DÖDING | WORDS JOOST HOEPMAN | WORDS INDESEM | 23 BOUNDARIES 29.05.2023 30.05.2023 01.06.2023 INDESEM decor at the Orange Hall 03 31.05.2023 02.06.2023

02 24H Design Competition

05 Attentive participants during the lectures 04

Jean-Philippe Vassal & Herman Hertzberger at the Orange Hall

Jette Hopp (Snøhetta) at The New Institute (HNI)

A New Dawn 20 2025 25 briinngs s thhe La Land nd f th the Ri R siing ng

Su Sun n in thhe e sppotltligighthts: it t is s the he yeaear r in n wh whic i h t the e Wo Worl r d Exxpo po wilill ta take ke plalacce e in n

O Ossakakaa, J Japapanan, fololloowwing ng up Ex Exppo o 202 0 0

Du Dubbaai. i Wororld ld expxpos s arre a glolobaal l ga gathhererinng naattiioons n deddicicatated ed to fi f nd n ing so solulutitionons to pressssinng chhal a le lennges es of f o our r ti timme of offeferiring g a jou o rn rney ey inssiidde a unniviverersaal l th thememe e t thhrorouuggh enngagagging ng and d immmemerrsivve e acctitiviviti t es s (Buurereau au Intnterernnaatioo na nal l de des s Ex Exppoossitiionons, , 202233)). It is s a g grea e t pllat a foorm rm to sh sharare kn knowowledggee, buuild d a be betttter er rel e at atioions n hi hip wi with t thhe e couount n ry whhicich o orgaganiniseses it and nd to co connnecect t w with h peeopople le and nd pototen e ti tial l bussinnesess s pa parttneners rs Thhe e th thememe 202025 is “Deesisign g in ing F Fuuture Soocicieetty fo for r Ou Our Li L ve ves”s”, wi with th subub-t-theheme m s of f “SaSavving ng Liv i ess”, , “Em E p poowewerring ng Livives” annd “C “Connnneectctining Li Liveves” ” Ac Accocorddinng to thhe orrga g ni nissati tion n the e proojectted ed visisittoor r co c un unt t is app p rooxi x ma matetely l 28 mi m lllioion. n.

2025 brings the Land of the Rising Sun in the spotlights: it is the year in which the World Expo will take place in Osaka, Japan, following up Expo 2020 Dubai. World expos are a global gathering of nations dedicated to finding solutions to pressing challenges of our time by offering a journey inside a universal theme through engaging and immersive activities (Bureau International des Expositions, 2023). It is a great platform to share knowledge, build a better relationship with the country which organises it and to connect with people and potential business partners. The theme of 2025 is “Designing Future Society for Our Lives”, with sub-themes of “Saving Lives”, “Empowering Lives” and “Connecting Lives”. According to the organisation the projected visitor count is approximately 28 million.

On the he 5th J June 2023 th t e Ne N th t errlands reve v aled its s pavvilion “A A New w Dawn w ” to thhe pubblic undder thhe e t themme of “Commmoon n gr g ou o nd: creati t ng g a new w dawn n togegeththerer”. ” It t i is designed a cononsortium um f RAU, DGMR, Telllaarrt and the Japapanenese se Asa s numa and gives es ans n w wers s to isssue u s l liike ke how we can organinise e eveery rythhinng that at is limited in an n un unli l m miteed waay annd d hoow w we can reduce thhe e use of fueuells T The co c ntribution on intro r du-

ce c s ne n w technologiies that wi will l usse water po p wer to generatate zero-eemi m ssion en enerergy g , ma m kiing enenergrgy moorre accesssible to evvery r on o e. e The e riissiing sun n in the pavilioion’s de d si sign symmbo b lises u unlimited clean n ener e gy g , and thhe e p paavvilion n itselelf f is s alslso co c mp m le l tely cirircucula l r (N ( etheerlrlan a dssannddyou o , 20 2 23).

ces new technologies that will use water power to generate zero-emission energy, making energy more accessible to everyone. The rising sun in the pavilion’s design symbolises unlimited clean energy, and the pavilion itself is also completely circular (Netherlandsandyou, 2023).

I’’m m t to the e detetails on this c and what t otthher countries ha h ve v to offer annd I hope e it will bring us th t e same icoconic immages s as the Expo of Osaka in 197 9 0.

I’m looking forward to the details on this project and what other countries have to offer and I hope it will bring us the same iconic images as the Expo of Osaka in 1970.

54 ARMAND ALOUCHE | WORDS

A NEW DAWN

On the 5th of June 2023 the Netherlands revealed its pavilion “A New Dawn” to the public under the theme of “Common ground: creating a new dawn together”. It is designed by a consortium of RAU, DGMR, Tellart and the Japanese Asanuma and gives answers to issues like how we can organise everything that is limited in an unlimited way and how we can reduce the use of fossil fuels. The contribution introduces new technologies that will use water power to generate zeroemission energy, making energy more accessible to everyone. The rising sun in the pavilion’s design symbolises unlimited clean energy, and the pavilion itself is also completely circular (Netherlandsandyou, 2023).

I’m looking forward to the details on this project and what other countries have to offer and I hope it will bring us the same iconic images as the Expo of Osaka in 1970. //

SOURCES

Bureau International Des Expositions (n.d.). About World Expos https://www.bie-paris.org/ site/en/about-world-expos

Netherlands and you (2023). Expo 2025 Osaka: design of the Netherlands Pavilion unveiled. https://www.netherlandsandyou.nl/latest-news/news/2023/06/05/expo-2025-osakadesign-of-the-netherlands-pavilion-unveiled