thomas henry architecture / editorial / graphic design
portfolio I / 2007 - 2013
thomas henry architecture / editing / graphic design portfolio I / 2007 - 2013 e: info@thomashenry.nl t: +31 (0)649792686 w: www.thomashenry.nl
Contents 2
Curriculum Vitae
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QuerĂŠtaro, World Heritage city
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Exploring facadism
graduation project pt. 1
graduation project pt. 2
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El diseĂąo de una bodega
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Brainport pavilion
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Temporary workshop extension
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Text: Architecture and association
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Text: Modernism and meaning
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Editing and graphic design
masterproject M2
masterproject M1
mastercourse
mastercourse
seminar
various
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portfolio I
Curriculum Vitae personalia full name date of birth place of birth nationality address telephone e-mail website linked-in education 2011 - 2013 2012 - 2013 2011 - 2012 2007 - 2011 2001 - 2007 experience 2013
Thomas Jan Henry 27-01-1989 Oostburg, the Netherlands Dutch Torenallee 50-34, 5617BD, Eindhoven, the Netherlands +31 (0)649792686 info@thomashenry.nl www.thomashenry.nl nl.linkedin.com/pub/thomas-henry/82/643/a87/ Eindhoven University of Technology, MSc, Architecture, Building and Planning (specialization: architecture) Research traineeship, municipality of Querétaro, ‘Secretaría de Desarrollo Urbano y Obras Públicas, Dirección de Monumentos y Sitios’, Santiago de Querétaro, Mexico Universitat Politècnica de València, exchange semester (architecture) Eindhoven University of Technology, BSc, Architecture, Urbanism & Building Sciences Zwin College Oostburg, pre-university education Editor of ‘Built Environment’. Yearbook 2012/2013 published by Eindhoven University of Technology and nai010 publishers, Rotterdam. Collecting, translating and editing of multiple articles.
2012 - 2013
Research trainee at the municipality of Querétaro, ‘Secretaría de Desarrollo Urbano y Obras Públicas, Dirección de Monumentos y Sitios’. Researching the Outstanding Universal Value (OUV) of the World Heritage city of Querétaro, Mexico, together with identifying and analyzing the factors affecting the property.
2009 - 2012
Editor of CHEPOS magazine. Architectural magazine published about four times a year by CHEOPS, study association of Architecture, Building and Planning. Writing and editing of multiple articles; doing interviews and putting texts in layout.
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“As for architecture, my main interest lies within redevelopment. The older building stock is all around us, presenting unique memories and architectural qualities. These are the places where potential lies to develop cities sustainably and create unique architectural designs. It would be a dream to contribute to the design and sustainability of locations with such a cultural and historical significance.”
2007 - 2010 publications/exhibitions 10/2013
08/2013 08/2013 01/2012 10/2011 06/2011 2010 skills language software personal info interests hobbies about me
Graphic designer for CHEOPS, study association of Architecture, Building and Planning. Designing and printing of graphic material like posters, flyers and logos. Article on the theme of facadism ‘Facadisme als strategie voor erfgoedbehoud’. Published by Platform VOER, an online platform that presents views in the field of heritage management in an urban context. www.platformvoer.nl/facadisme-als-strategie-voor-erfgoedbehoud/ Research project ‘Facadism as an approach to redevelopment and conservation of World Heritage’. Published by the Eindhoven University of Technology. Research project ‘The authenticity and integrity of the Historic Monuments Zone of Querétaro’. Published by the Eindhoven University of Technology. Exhibition ‘El diseño de una bodega’, Universitat Politècnica de València. Exhibition ‘Brainport pavilion’, Dutch Design Week, City Hall Eindhoven. Exhibition ‘Brainport pavilion’, Van Abbe museum, Eindhoven. Wout van Bommel, ‘Het Tilburg e.o. van architect Jos Donders, toen (1898-1940) en nu’. Published by Stichting tot Behoud van Tilburgs Cultuurgoed, Tilburg. Dutch: native, English: fluent, Spanish: proficient, German: practiced Adobe Photoshop/Illustrator/InDesign: skilled, AutoCAD, SketchUp, Microsoft Office, Adobe Dreamweaver: proficient architecture, graphic design, photography, writing, travelling, sports soccer, music Creative person seeking valuable career experience. Full of ideas, drawing inspiration from different fields. Engaged in architecture and design - with a special interest in redevelopment architecture. A good writer, skilled at research. Thriving on solving problems. A good communicator, both written and verbal, and able to work both in a team and individually. Adept at multi-tasking during deadline pressure while staying organized. Able to reflect, and eager to learn.
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portfolio I
graduation project pt. 1 08/2013 studio: ‘cultural heritage and sustainability: world heritage cities as case study’ the authenticity and integrity of the historic monuments zone of querétaro
Quéretaro, World Heritage city the graduation studio ‘cultural heritage and sustainability: world heritage cities as case study’ focuses on the topic of cultural heritage and sustainability, by taking world heritage cities as case studies. these cities include cultural heritage and face the challenge of developing continuously in a sustainable way while preserving its cultural values in an urban environment. the historic monuments zone of Querétaro, inscribed as a world heritage property in 1996, is taken as case study within this project. the research conducted in the first part of the project explores the relation between the change in land use and the facade attributes, conveying architectural values derived from the historical housing typologies. these typologies have shaped the urban layout and appearance of the property. the research contributes to the documentation on current heritage conservation practices within a representative sector of the historic monuments zone of Querétaro. in total, 374 originally residential buildings were analyzed and mapped in terms of their facade attributes, changes in land use, state of conservation and the correlation between these topics. the results contribute to the understanding of current trends within the property, affecting its authenticity and integrity. the results of this research also aim to be of help for local authorities in conservation activities and making future development plans for the historic center.
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1990
2000
state of attribute in sector G; windows 1990, 2000 and 2013 1:10000 no window 1 window 2 windows 3 windows 4 or more windows catalogued buildings HMZQ sector G surroundings
2013 5
portfolio I
the specific building types of QuerÊtaro are an essential part of the historical urban layout, shaping the urban layout and giving it its homogeneous appearance. with the help of an analysis on the attributes of the historical housing typologies, derived from typology descriptions and related texts, eight main attributes presented on the façade were selected to focus on during the study.
changes in originally residential uses 1990 - 2011, sector G 1:10000 changed between 1990 - 2000 changed between 2000 - 2011 changed both periods no change no data catalogued buildings HMZQ sector G surroundings
development state of conservation 1990 - 2011, sector G 1:10000 improved no change deteriorated no data catalogued buildings HMZQ sector G surroundings
change of façade attributes 1990 - 2013, sector G 1:10000
changed between 1990 - 2000 changed between 2000 - 2013 changed both periods no change catalogued buildings HMZQ sector G surroundings
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1990
number of stories
position of entrance
number of windows
frameworks
door cornices
window railings
portals
balconies
2000
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2013
portfolio I
graduation project pt. 2 08/2013 studio: ‘cultural heritage and sustainability: world heritage cities as case study’ facadism as an approach to redevelopment and conservation of world heritage
Exploring facadism the graduation studio ‘cultural heritage and sustainability: world heritage cities as case study’ focuses on the topic of cultural heritage and sustainability, by taking world heritage cities as case studies. these cities include cultural heritage and face the challenge of developing continuously in a sustainable way while preserving its cultural values in an urban environment. the historic monuments zone of Querétaro, inscribed as a world heritage property in 1996, is taken as case study within this project. the research conducted in the first part of the project explores the relation between the change in land use and the facade attributes, conveying architectural values derived from the historical housing typologies. these typologies have shaped the urban layout and appearance of the property. for this research was limited to but focused on the facade (attributes), continuation was found here. the controversy in this matter illustrates the dilemma cities including cultural and historical heritage are confronted with: the need to develop as a contemporary city versus the preservation of its heritage. this is no different for the world heritage city of Querétaro, which is confronted with transforming factors pressuring the heritage. it seems a common reality: most often we are only able to perceive a building by its facade, merely giving us an idea of what lies behind. how do we know the message given by the facade to the street is corresponding with the use of the building and its internal form? this intriguing question leads to the phenomena of ‘facadism’, an approach to urban redevelopment involving the preservation of historic facades while transforming or even demolishing the structure behind. facadism is often described in derogatory terms, but, what role can it play in conserving world heritage?
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notes: 1. Richards, J. (1994) Facadism. London: Taylor and Francis.
“the approaches to redevelopment involving the preservation of historic facades or the creation of facsimiles in front of new buildings were greeted with controversy and labeled ‘facadism’, which has since been the subject of an emotive debate.” 1 9
portfolio I
“facadism prevents new architectural styles from evolving and reduces buildings to mere elevations or 2 self parodies”. on an urban scale, facadism seems to provide an adequate solution on the grounds that “it is a valid method of urban conservation which enables the retention of familiar historic streetscapes or formal set pieces of urban design” 3. streetscapes stay intact, regardless the events behind the concerning facades. this approach however immediately introduces the disregard of the fabric behind historic facades, possibly and even probably containing value as well, for the facade cannot be seen separately from the internal form of the building. on this architectural scale the relation between the historical facade and the internal form, in the case of facadism, seems to present more conflicts. from a modernist approach facadism is being mentioned as being a ‘fake architecture’ and in addition, Robert Venturi, in his highly influential book Complexity and Contradiction in Architecture (1966)4, refers towards it as ‘the false front’. also, “where a listed building is the object of proposed demolition or alteration in order to provide new accommodation, a conflict will almost inevitably occur between the developer and the conservationist. (...) this often results in some form of compromise which permits alteration and modernization of the existing building, provided that those elements considered worthy of preservation are retained as part of the overall scheme” 5. in the case of World Heritage, these ‘elements considered worthy of preservation’ are the attributes conveying the value of a property. however, the most common compromise seems to be to retain the exterior but alter the internal form of the building or ensemble. this can be seen as a threat to many heritage sites. for all scenarios in redeveloping deteriorated built heritage it should be considered thoughtfully how to deal with the attributes conveying value still present in a building, both when intact or in ruins. facadism is an approach to redevelopment in which the historic facade remains but is controversial to the internal form of the building. this approach could be an option in scenarios in which the facade is in such a condition it is worthwhile and feasible preserving and/ or restoring for the sake of the integrity and authenticity of the facade, while the structure behind is beyond repair and is up for new development. the updated or newly designed fabric behind the facade then should always consider and respect the historic facade and incorporate the facade in such a way it is given a place within the process of urban change.
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notes: 2. Dobby, A. (1978) Conservation and Planning. Cheltenham: Nelson Thornes Ltd. 3. Richards, J. (1994) Facadism. London: Taylor and Francis. 4. Venturi, R. (1966) Complexity and Contradiction in Architecture. New York: Museum of Modern Art. 5. Highfield, D. (1991) The construction of new buildings behind historic facades. London: Taylor and Francis.
remaining faรงade
empty plot
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portfolio I
masterproject M2 02/2012 studio: ‘proyectos II’ at the universitat politècnica de valència el diseño de una bodega
El diseño de una bodega Spain is the third largest producer of wine in the world, and therefore can be called a wine country. vineyards are to be found all over the country with a concentration of vineyards and wineries in the north of Spain, a wine region called la Rioja, producing wines that are among the best wines of Spain. a winery in Spain is often referred to as a bodega, a term also including a wine cellar or warehouse. bodegas are such an integral part of Spanish culture and cuisine, that they can also include restaurants, taste & buy areas or even hotel. a bodega - accessible for visitors or not - has to represent the wine it produces. it is here where the architecture shows its face. wine has its associations with culture, landscape, cuisine, and can be expressed in materiality or use of space. landscape architecture has its part, making the vineyards part of the bodega experience. the design brief was to design a bodega in the outskirts of Requena, a city just outside of Valencia, famous for its wine production (wine region UtielRequena). the client was fictional, making the brief free for interpretation. the focus was on landscape architecture and bringing the concept of wine into the architecture.
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portfolio I
the bodega design had to cope with certain environmental issues. with these, designing a bodega is designing landscape. therefore, the landscape architecture is integrated in the bodega architecture and the bodega is incorporated in the existing landscape. with various architectural design concepts, the concept of wine is brought into the bodega, and into the landscape. for experiencing the vineyards in relation to the bodega, the first goal is to guide the visitor along the vineyards and landscape to the entrance of the bodega. this sequence has to go gradually, from parking your car to being inside. this way, the first association with wine is already made before actually entering the bodega. visitors from the north as well as from the south are fluently led to the entrance on the south facade of the bodega, without making a curve around the building. there is a clear division between the more closed serving spaces (office, wine production, staff ) and the open public spaces. the public spaces are opening up to the environment, orientated to the stretching vineyards just outside. the border in between the bodega interior and the vineyards is kept at a minimum by using the entrance design as a graduate transition between outside and inside. the spaces are designed as simple as possible. the main plan follows a tight grid which clearly defines the most important spaces and at the same time is the construction principle.
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figures: 1. barrica space / taste and buy area impression 2. roof impression 3. plan +1, p = 3500 4. plan 0, p = 0 5. plan -1, p = -2800 6. section bb 2.
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7. south-west view
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3. wine storage 4. taste and buy 5. VIP tasting room 6. entrance visitors P1 7. lounge/exposition 8. cafeteria 9. terrace 10. private 11. staff room 4. 12.
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3. storage room 11. staff room 12. office 13. fermentation 14. cased goods 15. bottling area 16. grape entrance
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portfolio I
masterproject M1 06/2011 studio: ‘brainport pavilion: an icon for the brainport region’ brainport pavilion: frayed
Brainport pavilion the regional topt-technological Brainport is an incubator for innovation and the home for companies and research institutions of world class. the Eindhoven region is the nucleus of Brainport. most technological companies and research institutions are located within a 40 kilometer radius from Eindhoven. but, ultimately, Brainport is not determined by its exact geographical location. it is a network economy with numerous cooperation links with regional and international organisations. the design brief is to develop a pavilion, to develop a proposal for a mobile, easy to place and quick to build platform, which can serve as a pavilion, stage or exposition space for the many (cultural) events which are organised both within and outside Brabant. an icon for Brainport. the appreciation of a pavilion is not only determined by the quality of the pavilion, but especially by the location of the pavilion in an urban area or landscape. Brainport requires a mobile icon to reach out to the world, like the density of a city spreading out it’s borders: people need to get to know Brainport. key words in this branding process are adaptability, flexibility and accessibility. a mobile pavilion has to adapt to any environment and situation. once set, the pavilion becomes part of the situation. finally, the users adapt to this new situation with the pavilion in it. in this project, adaptability is reached by using a grid as underlayment to spread out seat elements on any given location. flexibility is obtained by keeping the main function very general - meeting eachother - and at the same time having the possibility to use the pavilion for a Brainport expo, performances, lectures etc. with this in mind, the accessibility is increased by creating a pavilion entirely open from all sides.
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figures: 1. section 2. side view 3. side view 4. ground floor plan 5.
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5. possible location: markt Eindhoven
“the appreciation of a pavilion is not only determined by the quality of the pavilion, but especially by the location of the pavilion in an urban area or landscape�. 19
portfolio I
mastercourse 07/2012 course: ‘architectural engineering: production and parts’ a design for a temporary extension to the model workshop in vertigo
Temporary workshop extension a temporary extension to the model workshop in Vertigo. this short brief for this design assignment already contains some demands which have to be taken into consideration for the design. temporality, laying a focus on simplicity, trying to create demountable, simple connections for a quick set up and disassembly. an extension, indicating the necessity for extra space or an expansion of the original space. the model workshop in Vertigo, faculty of architecture at the TU/e, hereby being the given location for this assignment. modularity has been given a great role in the design. creating one module with the idea of linking multiple for creating a bigger space, various compositions can be made, fitting any circumstances. this way the design can be used for different functions, like expositions, lectures, meetings etc. with a flexible structure comes a flexible façade. or, making the design even more flexible by leaving the façade free for interpretation, fitting the façade to the wishes for a certain temporary function. choose where the entrance comes, open one side towards a beautiful view or make a playful mix between open and closed. in the set dimensions of the space between the columns there is an absolute freedom in choosing its destiny. there only has to be paid attention to making the structure wind and water proof, that is, if desired. coming from the basic idea of a simple construction with wooden beams arranged according to a constructive grid, one ‘unit’ consists of two wooden trusses hanging in between four columns, one on every corner. In order to create the desired modularity, there had to be paid attention to the detailing at the points the modules come together as it has to be possible to set just one unit up, or multiple linked to one another with the help of aforementioned design concepts and most of all trying to keep the design simple, the design process led to a flexible structure, free for use in different ways, on different times and different places.
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figures: 1. front view 2. side view 3. section aa 4. section bb 5. possible ground floor plan 6. detailed section | long 7. detailed section | closed element 8. detailed section | ‘open’ element
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3 mm aluminum sheet 160/160 mm lam. construction beam, 1.5 m long 4 mm corrugated synthetic sheet, translucent, on framework of 44/80 mm pine battens Ă˜ 8 mm steel wind bracing 40 mm lam. cross boarded sheeting 60 mm EPS insulation vapour barrier 18 mm plywood underlayment, in between 60/120 floor beams 4 mm corrugated synthetic sheet, translucent, on 60/160 mm construction beam (truss) 50/160 mm construction beam (truss, 2x)
8. rotation axis/steel bolt 9. locking element 10. fixing bolt (for rope)
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portfolio I
the essay focuses on the redevelopment of buildings that in time have created memories. with the help from the thoughts of grand architecture critics John Ruskin and Stewart Brand the essay explores paths in the following matter: how does redeveloping a place relate to association?
mastercourse 05/2012 course: ‘philosophy in architecture’ how does redeveloping a place relate to association?
Architecture is regarded with serious thought since it is all around us and plays a major role in our daily lives, all throughout history. It is the scenery of our lives and thus of our memories. It are these memories that link with age, as it is that we build for the ages, not for the present. “[…] when we build, let us think that we build for ever. Let it not be for present delight, nor for present use alone; let it be such work as our descendants will thank us for, and let us think, as we lay stone on stone, that a time is to come when those stones will be held sacred because our hands have touched them, and that men will say as they look upon the labour and wrought substance of them, “See! This our fathers did for us.” For, indeed, the greatest glory of a building is not in its stones, nor in its gold. Its glory is in its Age […].” 1
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From Ruskin’s thought comes a certain appreciation for the history of a building. This has to do with a way of respect, honor and - more personal - memories. Ruskin goes on about this sentiment of age, where a certain beauty can be found. Going back to the alley, the cracks in the wall tell me the building has endured at least several decades in - highly probable - changing conditions. Would I have known this if the wall was restored? Ruskin expresses this by the term ‘picturesque’ and this can be interpreted as the beauty he finds in buildings, coming from its decay and thus, age. To strengthen his thought; he thereby thinks “a building cannot be considered as in its prime until four or five centuries have passed over it” 2, leaving its marks and scars. This is true, as far as the age of a building gives the building its picturesque characteristics, that Ruskin so worships. But it are also these characteristics that make you associate with history and make you realize the building is already there for a long time, almost enforcing you to respect it. We are talking about architectural components like broken lines, strong oppositions of light and shadow due to irregularities on the surface, or highly contrasted color; all worn down in time. These are basic architectural elements we still see nowadays.
notes: 1. Ruskin, J. (1849) The Seven Lamps of Architecture; The Lamp of Memory, p. 171. New York: John Wiley. 2. Ruskin, J. (1849) The Seven Lamps of Architecture;
Making a jump in time, a lot has happened in between Ruskin – who lived in the 19th century - and the present, on the sly mentioning the industrial revolution which led to a modernist movement in the early 20th century, where Ruskin’s influence could be found in e.g. William Morris and his Arts and Crafts movement, highly inspired by Ruskin. Still, old and worn down buildings are all around us and how to deal with these buildings has become a current topic these days. Since the building industry grew enormously, space is getting scarcer and we had to start thinking what to do with this situation, if it was not already too late. The idea of preservation in the extreme way Ruskin saw it, could never cope with the developments in building happening in the 20th century. Cities grew faster than ever making their buildings bigger with the help of new technical possibilities. When we look at recent developments in the architectural scene, it seems we are getting overflowed with hypermodern design, which started about 15 or 20 years ago. Flashing websites or pictures and renders in fancy magazines have to convince us we should realize such a design while these only seem to exist for themselves, regardless of their context. This so called Iconic Architecture – or Magazine Architecture – is the urge to create an icon by being the biggest, most striking or most renewable. Iconic Architecture asks for criticism. What are the values? Criteria? Their purpose mainly (if not, only) is to get people to associate the applied iconic features with their brand, or to reflect their product onto their building; it is all about branding. This is a totally different kind of association in architecture, led by the financial market. These buildings are not designed and built for the ages, and therefore left to their fate as the lifespan of the building will exceed that one of the companies. You can say that only bureaucracies have a chance in succeeding settling in an iconic building, as they are not allowed to fail and their function remains. Thank God the economic crisis came. It put a certain halt to Iconic Architecture, making architects realize what actually was going on. Yes, in prosperous times it is easy to get carried away and in cases like that you soon lose track of the true values you at first stood for. Well, it left us with an enormous amount of empty office buildings, now even increasing in number as a logical result of the very same crisis. Seems already enough for me to state a new challenge for all architects these days; to rediscover the values hidden in the existing stock, hereby toning down some architects, trying to get them a bit more modest. Not to say there is no place for architectural design, but architecture has got to find its place again in this new task consisting of smaller adjustments, still having a big influence on our daily environments. We will have to talk again about basic elements like heights and masses, sustainability and attitude.
The Lamp of Memory, p. 178. New York: John Wiley. 3. full essay via www.thomashenry.nl/texts_project_PH.html
So here we are at the theme of redevelopment. It is here where there is much to win, as well as for sustainability as for architecture itself. (...) 3 25
portfolio I
this text is an exploration into the book Pioneers of Modern Design, written by art historian Nikolaus Pevsner. what is modern architecture, or modernism? What did it mean when a particular project appeared in so many books, and - maybe more important - what did it represent?
seminar 04/2012 seminar: ‘modernism and meaning’ nikolaus pevsner and his pioneers of modern design
“how can a form that is not more than a scheme, with a physical reality out of concrete, steel and glass, appeal to imagination? how does the abstract vocabulary of modern architecture appeal to imagination? such questions may become elaborated with the help of another one: how is a particular example of modern architecture photographed and documented, in a particular book, in order to represent meaning, on behalf of what particular observation / argument that the author of the book works out in the text?” 1 the seminar compared a selection of well-known examples that return in many books that all are in some way related to modern architecture in the 20th century. in total, twelve books were read and analyzed. one of them is Pioneers of Modern Design, written by art historian Nikolaus Pevsner. the treated examples in this book are analyzed for their purpose in Pioneers. Pevsner’s writing and way of argumentation are taken into consideration, expressed in the explanations on argument and meaning. meaning being what the example represents for Pevsner, argument being the way he tries to prove this. together they construct Pevsner’s ideas about his pioneers and the Modern Movement.
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Born in Leipzig in 1902, Pevsner’s view of history was grounded in his education amongst German art historians. While writing his dissertation Pevsner embraced the idea of the zeitgeist or ‘spirit of the age,’ and the related assumption that national characteristics inevitably are reflected in its art, or that it is here where “national qualities are represented at their best.” 2 In 1925 he made two life-changing visits: to the exhibition of Decorative Arts in Paris, where he was deeply moved by Le Corbusier’s Pavillon de L’Esprit Nouveau, and to Dessau, to witness the groundbreaking ceremony for the new Bauhaus building, designed by the architect whose work most clearly influenced Pevsner’s vision of the Modern Movement, Walter Gropius. In 1928 Pevsner secured an academic post at Göttingen University, where he was granted funding to travel and study art and design in England, laying the foundations for the writing of Pioneers.3
figures: 1. Gropius: Model factory, Werkbund Exhibition, Cologne, 1914, North Side. 2. Cover first edition under the title Pioneers of the Modern Movement; From William Morris to Walter Gropius (1936). notes: 1. Bosman, J. (2012) seminar description 2. Pevsner, N. (1960) Pioneers of Modern Design. London: Penguin Books. 3. http://en.wikipedia.org/wiki/Nikolaus_Pevsner (accessed 03-04-2012) 4. Sunwoo, I. (2010) Whose Design? MoMA and Pevsner’s Pioneers. Getty Research Journal, No. 2, p. 69-82. 5. full text via www.thomashenry.nl/texts_project_SE.html
In Pioneers of the Modern Movement; from William Morris to Walter Gropius, published in 1936 by Faber and Faber in London, Pevsner wrote on the origins of modern architecture and design. However, what is noticeable, is that for the second edition published in 1949 by the Museum of Modern Art in New York (MoMA), the title of the book was changed to Pioneers of Modern Design. Where Pevsner reflects on the past years for the 1949 edition of Pioneers, Pevsner’s later revisions to his text during the 1960s are of an entirely different nature. The change of title in 1949 - from Pioneers of the Modern Movement (1936) to Pioneers of Modern Design (1949) - marked its deployment towards MoMA. Apparently, as the new title suggests, the term ‘design’ took over the notion of a modern movement. This reveals the sensitivity for change in meaning of the term ‘design’ at this historical time.4 While the book has sustained decades of criticism, when it was first released in 1936, Pioneers offered a striking interpretation of the development of the movement towards modern architecture and design. The edition analyzed for this seminar about modernism and meaning is the third edition from 1960, including the forewords of the first and second edition. In these, Pevsner states his gratitude, but more interesting is the the foreword of this revised 1960 edition of Pioneers, where Pevsner took the opportunity to say that he felt himself to be “surrounded by fantasts and freaks”, and further on, to mention “the craving of architects for individual expression, the craving of the public for the surprising and fantastic.” 2 An item still actual these days. These quotes reflect Pevner’s somewhat hostile expressions to ‘that other tradition’, the so-called ‘organic’ Modernism, exemplified by the work of Scharoun, Aalto, Utzon and in a slightly different way by the ‘late’ Le Corbusier. The book definitely shows Pevsner’s strive in his search towards the sources of a new ‘universally recognized style’. Like Sigfried Giedion in Space, Time and Architecture (1941), published five years later, Pevsner did not aim to just find the lineage of the Modern Movement, but to demonstrate that its characteristics as its clean lines, forms and new sense of space - were the basis for this universally recognized style. Therefore he believed it was the natural expression of the age of science, industry and the machine. Pevner’s aim in writing the book was “to prove that the new style, the genuine and legitimate style of our century, was achieved by 1914.” 2 This partly gives away the structure of the book, where Pevsner uses his arthistorical background to work towards his hero Gropius, who firstly achieved to perfectly master the new style which Pevsner so many times talks about. Pevsner states there are three sources of the present style, being William Morris and the Arts and Crafts, Art Nouveau and engineering architecture. The chapters in the book are dedicated to these sources of the Modern Movement, with the first chapter being an introduction to share the theories of art from all main characters in Pevsner’s movement and the chapter on eighteen-ninety in painting an attempt to clarify the upcoming abstractness in painting, and therefore, design. The three main sources Pevsner found each got their own chapter, explaining their origins and treating the most important examples representing the most important events in the development towards 1914. (...) 5 27
portfolio I
2007 - 2013 various projects. editing, graphic design, layout design, writing articles, interviewing
throughout six years of architectural studies, next to architecture, i have developed a strong interest in writing/editing and graphic design. it is a direction i have chosen to follow to become adept in writing and creating good-looking and readable graphics and layouts. in these, often the same design issues come foreward as in designing architecture. a well devised selection of words, as well as proportions, materiality etcetera always contribute to a clearer result.
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Built environment
2013 editing
the 2012/2013 yearbook ‘Built environment’ presents the results of each graduation studio, represented by one or two projects, together with texts on ‘total design’ by Wiel Arets. Main tasks in this editorial experience were collecting, correcting, translating and summarizing texts from students together with putting the articles in the layout nicely. published by Eindhoven University of Technology and nai010 publishers, Rotterdam.
Portfolio I
2013 editing, layout design
as a result of six years of architectural studies and more, i have put together this portfolio booklet. to profile my personal and professional experiences in these past years i have attempted to obtain the right balance between architecture, writing/ editing and graphic design and to showcase my skills at best.
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portfolio I
Graduation books
2013 editing, layout design
for the graduation results my team and me decided to create five books concerning the world heritage in QuerĂŠtaro, all with one consistent layout. i was responsible for the layout design, taking account the various sizes and scales of many maps together with keeping the layout as clear and readable as possible. the result is a series of five books: pt. 1 and pt. 2 as a common result and pt. 3, pt. 4 and pt. 5 as individual research results.
Project reports
2011 - 2012 editing, layout design
for the concluding of multiple projects and courses i have presented the results in specially designed booklets. these all have been designed in the same style and have the same size. this way a consistent series of reports is the result of all productions during my master program.
thomas henry
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Chepos
2009 - 2012 editing, writing articles, interviewing
chepos is an architectural magazine written by and for students. for almost three years i have written articles, held interviews and was active in thinking how to improve the magazine. main tasks were selecting most interesting topics to be published, the writing/editing of articles and putting the results in the layout. www.chepos.nl
Other graphics
2007 - 2013 graphic design
from year one of my architectural studies on, i was involved in designing and printing graphic material of all different kinds. posters and flyers for various events, company logos, layout designs, websites, and more. it is a thing i love doing and will continue doing as long as i am involved in the world of design.
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portfolio I