ARCHITECTURE PORTFOLIO
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THIJS DE PAUW
Belgian unmarried Leeuwveldbos 2, 9450 Denderhoutem +32 497 35 68 29 thijs.depauw@hotmail.com issuu.com/thijs33/docs/archportfolio
EDUCATION 1993 2005-2011 2011-2015 2015-2017
Born in Aalst, Belgium Latin - Science, Sint-Aloysiuscollege Ninove Bachelor in Architecture, KU Leuven Ghent Master in Architecture (Advanced Architectural Design), KU Leuven Ghent
SKILLS Advanced Good Knowledge
Model making, Drawing Autocad, Photoshop, Sketchup, Indesign Ilustrator, Powerpoint, Word, Excel ArchiTech, 3DS Max, Rhino, Grashopper, Cryengine
LANGUAGES Dutch Native English Very good French Good German Knowledge
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CONTENT
ABATTOIR
6 - 19 Anderlecht, Brussels 2015 - 2016
HOUSE IN SHIMODA
20 - 27 Japan 2013
VILLA RVSTD
28 - 39 Blank space 2015
AUGUSTINER TOR
40 - 61 Aachen, Germany 2016 - 2017
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ABATTOIR The ‘Abattoir’ (French for ‘slaughterhouse’) in Anderlecht dates back to 1888, when the municipality of Anderlecht decided to replace the municipal slaughterhouse with a new building. Brussels requested that one abattoir should be built for the city and also its suburbs. The location of Kuregem seemed ideal, given the fact it boasted a canal and the recently constructed West Station. In the 1950s plans were drawn up to demolish the abattoir to make room for a social housing district. In the golden sixties, the meat industry was nevertheless considered as too profitable and the demolition plans were shelved. When in 1983 the town of Anderlecht decided to discontinue the running of the by then antiquated and loss-making abattoir, a new public limited company was set up under the name ABATAN (subsequently Abattoir nv.-sa.). The necessary capital was provided by approximately 150 people with a direct interest, who wanted to secure the survival of ‘their’ abattoir. Due to intensive restructuring, big investments and modernisation works the ‘abattoir of Anderlecht’ has grown into a centre of trade with an industrial-urban mix of features. The masterplan proposed by Abatan shows an axial approach to connect the site with the surroundings and the urban network of Brussels. This vision provides the gradual compaction of the Slaughterhouse site in 6 volumes which conclude all necessary functional programs for Abattoir around a large square with the central market hall. For this project we proposed an adaptation of this current masterplan, consisting several spatially structuring systems and an extra focus to the accessibility of the site. The first phase of the masterplan is the realisation of a multifunctional parkingbuilding able to contain the entire visitors parking capacity of the site (underground parking facilities were not an option because of a strongly polluted terrain and an unsuitable underground). An important issue was to fix the current accessibility of the site for both visitors and logistics, without interfering one another. Our design started by an exessive research of the ground level and the required space. In order to fit the required capacity of 700 parking lots, we had to exploit the available surface to the maximum. We created a model by pragmatically duplicating floors of 90 by 45 meters and placing them on top of each other. By cantilevering of the several floors, we created next to a bigger parking capacity also space for other functions that our project needed to represent as central building of the site. The location on the site and its cultural and diverse context required more than a regular parking building in the masterplan. It would become the ‘heart’ of the site, facing the old industrial market hall. By rearranging the stack of floorsslabs on differing floor heights, we created more flexibility in the building: it became possible to introduce the program of theater with a lobby, marketplace, community restaurant and a space for a future multipurpose hall. The slabs get connected by a helicoidal ramp which ensures a fast circulation, required during peek hours of crowded market days. The differing floor heights cause the spiral ramp (with a constant slope) to grow in size wherever the floor heights are larger and reduce in size on the parking levels with lower floor heights. The theater is spread over 2 conical volumes: a high stage volume and a broader tribune volume. Together with the core of the spiral ramp they ensure the stability of the entire building, making it possible to give the load bearing columns a minimal section, once again creating more space for parking lots.
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1. stack
2. expand
3. ramp
2. functional heights
4. program
6. structure
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standard ramp form
parametrically designed ramp form*
*As floor heights changed during the design process, the radius and starting point of each ramp segment is parametrically altered to form a configuration that ensures a constant and ergonomic slope degree.
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ramp entrance to parking levels community restaurant market area stage storage space, changing rooms, lockers ramp as podium foyer terrace 12
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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elaboration in model
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collage view of the foyer on the 3rd level and the ramp serving as resting area
collage view of the entrance of the community restaurant and the walkway underneath the canopy 19
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HOUSE IN SHIMODA ‘If you rigidly divide inside and outside, you completely miss out on the richness of all gradations in between’ - Sou Fujimoto Can a designer re-design a house using the same methodology as the original designer? The exercise started by making a very specific and extended study of an assigned project (House in Shimoda EANA) using only pictures, incomplete floorplans and sections, descripitons, interviews of the designer,... Research on the building techniques, materials and contstruction methodes made it possible to remake the project in large-scaled drawings and a detailled model. The exercise continued by a general revision of the entire design: redesign the house as if you would be an employee of the studio that originally designed the house. I started by collecting descriptive terms caracterizing the project like compactness, integration of nature, spatial relation, formalism, dematerialization, innovation, dealing with privacy, flexibility, interior-exterior relation and sobriety. These would become key-words in the new design. The internal arrangement of spaces in House in Shimoda is based on a box-in-box principle. By dissambling and rearranging the boxes, the spaces get more linked to each other, creating a flowing sequence through the house (~ sliding puzzle). By spliting the house diagonally and shifting the parts, I started playing with inside/ outside relationship. This way the ‘outer shell’ becomes more like a concrete cave which enfolds a more temporary wooden settlement. Trees grow inside the house like as if it’s a ruin. In the frontcorner of the house I placed a big trunk serving as column for the support of the cantilever of the concrete shell.
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PLAN 00 _ SCHAAL 1/50
PLAN 01 _ SCHAAL 1/50
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facades
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SNEDE DWARS AA’ _ SCHAAL 1/20
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VILLA RVSTD INTERGENERATIONAL LIVING Intergenerational living is not a new concept. It has been deeply rooted in Asian culture for centuries. Two or three generations used to live together under one roof. As the global population is ageing at a fast speed, transforming our society into a smart ageing era is indispensable. It is time for our community to re-think how we can make better use of our diverse social resources and innovate for smart ageing. This exercice focuses on the interior organisation of spaces so there is no imposed context. The lack of this information was replaced by a very detailed program with specific requirements: - DESIGN A HOUSE for an intergenerational joint family: A father with 3 children; 2 students and 1 teenager. A mother with 2 children; 1 teenager and 1 toddler. Together they have 1 child; a baby. The mother’s parents live in but live quite independently, there is one shared space. They share 1 car and everyone has a bicycle. Mother loves to work in the conservatory, father is a handyman, he made most of the furniture pieces. - MAKE THE HOUSE (detail) The house has a diagonal spatiality. It’s constructed with a framed construction method and an industrial facade, but the interior is designed with wooden elements creating a contemporary and cozy, functional and welcoming atmosphere. As a context was lacking, I started building up the ground plan by joining 2 clear geometrical rectangles. By rotating one surface in the other, I created an overlapping area forming the core of the house. This central space in the house serves as a large kitchen and dining room: the social event of dining and cooking together forms the key in the intergenerational program of the project. The space is connected to the upper conservatory, serving as a big light - transmitting dome by its transparancy. By introducing an offset at one side of the rectangles, the design attempts at creating a three dimensional composition of spaces layered both vertically and in plan. The residences open up to the north side, providing a large garden view, while the central dining room opens up to the south side of the house.
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facades with weathering steel and glass 30
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PRODUCED BY AN AUTODESK
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residence of the joint family (parents & children) residence of the grandparents shared dining- and cooking area shared reading area drive-in to the underground garage
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conservatory as core of the house south facing roof terrace workspace for the father upper floor connected to the conservatory
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AUGUSTINER TOR Aachen is a historical city near Germany’s borders with Belgium and the Netherlands, known and desired for its hot springs, rich of minerals and healing water. Next to the springs, there used to be innumerable brooks, creeks, ditches uniting in streams ending up in the Maas river. Since Neolithic times the cityname was therefore always linked to this primary resource. Until the 19th century many of the streams which ran through Aachen were visible, moved water mills and served several manufactures. However, after the Second World War most of de hot springs and creeks got covered up in an invisible labyrinth of tubes flowing under the city. Today Aachen is no longer considered as a Spa ; the cultural image it sends out to attract travelers is a collage of Charlemagne, his Cathedral, the huge Technical University, the museums of ancient and modern art, the annual horseshow, the soccer stadium. Every link to the original connection with water has completely disappeared. Aachen would not exist of these waters had not been discovered, veneered, exploited. The neighbors propagate the slogan “Cologne – City of Water”and proclaim the same message: Water should become a dominating element in the cultural image of Aachen again. What better way to revive this cultural awareness by erecting a museum which can serve as a collection of ideas and projects to let visitors rediscover Aachen as a Spa, about the hot springs, about clean water, about droughts and inundations, about rain, ice, snow and other forms of water in the arts. For the location of the museum, it was necessary to do some research on the historical maps of the ancient city center and its waterways or ‘bachs’, like the inhabitants call them. Shortly I came across the ‘Augustinerbach’, a little creek descending from the bigger ‘Johannisbach’ and since many decades burried under the street pavement. Forming a fysical connection between the university campus and the Inner city, the site contributes to the diagonal traversing of Aachen.
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the the the the
university campus RWTH ‘Augustinerbach’ historical center with the city hall ‘Ratshaus’ and the cathedral ‘Dom’ ‘Elisenbrunnen’ and the parc, an important historical place known for its hot spring
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View on the street ‘Augustinerbach’ with on the left side the ‘Kaiser Karl Gymnasium’, a historic school with a beautiful 19th century facade and some very big trees indicating its impressive character. Facing the gymnasium, the old laboratory for mechanics of the RWTH. This discarded building forms by its position an obstacle in the space required by the large facade of the gymnasium. A small channel next to the sidewalk transfers the water of the underlying stream pumped up to the surface. This gesture to connect the streets of Aachen to its original link with water is just a weak action given its possibilities.
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By removing the laboratory, the site transforms from a one-way street to an open public square; a rest stop for tourists moving from one shopping street to the other. To retain the central openness of the site, 2 volumes are placed on the edges, surrounding and connecting the square together with the RWTH campus and the gymnasium.
The morphology of a tower forms a tranisition from the industrial schoolbuildings of the RWTH to the more grained pattern of the inner city. One facade faces the heart of Aachen, the Dom and the city house.
A long underground exhibition space connects the 2 volumes along the partially re-opened Augustinerbach, accessible by a lower dike. A private lower terrace forms a physical connection between the visitors of the museum and the ‘forgotten’water.
The ancient ‘Tors’ in the historic center of Aachen were high watch-towers placed at the intersection of the city borders and the infiltrating waterways. A large guarded gate granted access to other parts of the city: The alley perforating the tower connects the street with the square and guides visitors to the entrance pavilion in the center.
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‘IM UNTERGRUND, DA BRODELT ES’ The visitors of the museum get physically connected to underground waterstream. Througout his visit, the visitor discovers the relation between history, nature, geology, technology, art, memories, stories and places. This way the experience becomes an exploration of TIME - from the origin of the sea, 3 million years ago untill the first man in Aachen, from the Germans to the Romans, from Charlemagne untill now and of SPACE - from the underground waternetwork to the surface, from the street to the high towers addressing the urban landscape -
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entrance exhibition space foyer performance space
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exhibition terrace public dike cafĂŠ entrance to museumtower 48
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entrance pavilion public toilets public square museum exit
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storage alley street entrance to museumtower 52
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ER TOR
THIJS DE PAUW
AUGUSTINER TOR THIJS DE PAUW
plans museum tower 56
view to the cathedral and city house
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