TIM STOOP
ARCHITECTURE PORTFOLIO
works 2015 - 2022
The intimacy of intensive places
‘Kulturhaus’, Gonda Mountain hotel, Guarda Island shelters, Terschelling Minimal Art Museum, Haarlem ‘Hofje Bakenesserkamer’, Haarlem
Case Study House nr. 16, Los Angeles
Other works & interests 5 13 21 29 37 45 49 58
The intimacy of intensive places
TU Delft Explore Lab, Research studio September 2021 - February 2022
1:10000 context model, built using styrofoam, wall filler, cardboard and wire
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birds are always singing in spring azure green circles awestruck into my soul a glow that slumbers dilating that encourages hope
1:50 square model, built using styrofoam and wall filler
1:200 analytical models, built gypsum 3D-print
‘Kulturhaus’, Gonda
TU Delft Explore Lab, Graduation studio February 2022 - now
She is a singer and through means We try to listen to Her
We can wonder about Her That she provides a contact That this is it Here the uncertain is sung The most intimate is caught in the inner ear
A good place has a rhythm. It breathes, reverberates, echoes through rocks, boulders, stones, water, ice, grass, dirt, leaves, branches, trunks, tree needles, light, birds, trains, cars, people, deer, cows, lambs, foxes, hunters, hikers, visitors, residents, locals, houses, roads, fountains, hills, mountains, slopes, creeks, rivers, wind, ... Lungs that expand and retract, one that feel, hold and love.
Here, an existing landscape is left. A new special point help us to see the landscape anew and to discover things that have always been there. The object helps us to see this landscape. A small shell of a building is to be built on the western side of the Baselgia ruins. Not a theatre, or chapel but rather being a ‘Kulturhaus’ it positions itself respectfully in the story of the lost village of Gonda. Using a natural stone from the nearby quarry embeds it between the stone depots scattered among the ruins.
1:500 site model, built using styrofoam, wall filler, dried flowers, soapstone
uncertain what will be unsure what will become but what will be can be smooth after rain brittle after sunshine falling and landing weak and strong touched by its surroundings influenced by Her
Mountain hotel, Guarda TU Delft Explore Lab, Graduation studio February 2022 - now
Those who enter the valley of the Lower Engadine are struck by the intensity of the landscape in which time seems to slow down. These places hold a strong character, but also struggle with remaining their local identity. Therefore, a small mountain hotel is to be built, embedded in between the traditional farmer’s houses. Local culture, Baukunst and landscape are intertwined. The hotel focuses itself around its direct context, taking from the rich historical, social and cultural qualities present in the landscape and its people and celebrating its exclusivity. The hotel is for a special kind of guest. Those who cherish the sound of a fireplace whilst reading a newspaper after a days hike to one of the villages. Served local dishes
The hotel’s positioning is of a higher artificiality in a positive sense. The basic idea of this acupuncture is the tension between the naturally grown and the artificially set. This artificiality is achieved through a clear precise, geometry that borrows from the surrounding houses and topography.
1:500 site model, built using styrofoam, wall filler, dried flowers, ebony wood
1:20 sketch models, built using aerated concrete, paper, styrofoam and different types of hardwood
Island shelters, Terschelling
TU Delft MSc2 Studio, Delta Shelter
1st year Master project, July 2020
1:200 site models, built using styrofoam, modelling clay, fibers, carboard and wax
The area of the Boschplaat on Terschelling is a scattered landscape where each place has its own natural qualities. This proposal connects to the war-time story of the scattered World War II bunkers and celebrates the different qualities of the landscape by scattering the program over three smaller shelters. The shelters are different in function and size, but are all of the same architectural family. Each shelter can be seen as a pebble or sea-shell, washed ashore by the ever changing landscape. These pebbles are placed on a framework and have a thin roof on top. The interior concept shows a juxtaposition of different masses that create the positive and negative space on which light will fall.
The shelters are constructed from solid wooden beams stacked on top of one another, conform the strickbau method. These massive walls are always present in the experience of the shelters and are enhanced by built-in shelves and storage systems. The timber beams radiate their warmth, colour and smell to the space and create a mystique atmosphere where the user becomes aware of the architectural quality and beauty of the wooden construction as well as the presence of the landscape.
1:200 site model, built using styrofoam, modelling clay, fibers, carboard and wax
1:20 interior models of ‘ Shelter for a painter’ , built using cardboard, paper and perspex
Minimal Art Museum, Haarlem
TU Delft MSc1 Studio, Museum 1st year Master project, January 2020
Above: 1:200 site model built using linden wood and triplex
Left: 1:50 model, built using multiplex, cardboard, perspex and wheats
The Minimal art Museum <MaM> focusses itself on artworks from the Minimal Art Movement that manifested itself during the 1960’s in the United States and later Europe. The main protagonist in this story is American artist, furniture designer and architect Donald Judd with additional works by Roni Horn, Robert Morris and Olafur Eliasson.
Judd’s chair 84 <1991> is the basis for the design approach. “Theartofachairisnotitsresemblancetoart,butispartlyits reasonableness,usefulness,andscaleasachair.[...]Thechair hasabasicfunction,andthedesigndoesnotcontradictthat functionoraddanyunnecessaryembellishments.” The idea of clarity in an object -be it a chair or a building- struck me at first glance and formed a framework to design a museum next to the city-centre of Haarlem, the Netherlands. The museum focusses itself on the beautiful waterfront and tries to capture the reflecting light to then enhance it onto the art pieces. By different spatial, technical and tectonic design choices the Minimal art Museum places itself heroically in the landscape to act as a canvas for the art inside.
1:50 interior model, built using multiplex, cardboard, perspex and paper
South elevation
North elevation
East elevation
West elevation
Hofje Bakenesserkamer, Haarlem
TU Delft Elective, Analytical Models
1st year Master project, April 2020
Above: Graphical abstraction of the elementings within the ´hofje´
Right: Analytical models, built by using gypsum, paper, pigments and cardboard
In collaboration with Pjotr van Noesel & Bas Leemans
The Bakenesserkamer is the oldest “hofje” within the Netherlands (1935). The traces of time and craftsmanship used during its original building phase make this place into a picturesque, spatial ensemble within the city of Haarlem.
Together, the analytical models have been synthesised into a composition of characteristics, which shows how one experiences the hofje, from the two different entrances, towards its inner courtyard, and the various textures, and details that come along this journey.
Case Study House nr. 16, Los Angeles
TU Delft BSc 5, House of the Future 3rd year Bachelor project, January 2018
“Eachhousemustbecapableofduplicationandinnosensebeanindividual performance.” This is the main statement from the Case Study House Program. Case Study House 16 is conceived as a prototype for the average middle-class family. It’s the only house from Craig Ellwood’s Case Study Houses that actually retains the concepts of middle-class houses.
The site is a levelled plateau on a hill with views in perpendicular directions. Modularity and internal clarity were more important to Ellwood than site strategy. It’s more about the internal organization of the building than about the connection between the site and the building. Case Study House 16 exemplifies the postwar idea of openness. This has direct consequences for how all the rooms are orientated. The bedrooms are connected to the hallway without a door. The kitchen and tv-room can be concealed from the living room with harmonica-walls. The house also opens to the outside. Some bedroom walls are extended to the courtyard, to create the idea of continuous space and make the bedroom look bigger. The overhanging roof contributes to this principle.
In the house there is a clear distinction between day and night use. The main hall splits the house in day and night functions. Private and public are separated by semi-transparent glass and a closed wall. All the other walls are ‘floating’ between the ceiling and floor. One of the primary concerns of Ellwood was to re-invent the kitchen and bathroom. The open kitchen shows the new post-war living standards.
The main goal for this coarse was to analyse a well known historical building through means of drawings and models. During this project I took role as group leader where I would arrange meetings and had the overall lookout on the project. I also prepared all the lasercut and models that were to be 3D-printed. I learned a lot on modelmaking as well as making a large and detailed model in a team. Looking back on this period, it was one of the most fun courses I attended.
1:33 interior model, built using multiplex, MDF, cardboard, perspex and
Other work & Interests
During the ‘House of the Future’ course I got interested in making wooden joints and making them on a 1:1 scale. Therefore, I remade the sidetable by Gerrit Rietveld. This gave me a wider understanding on the use of plywood, different joints and how one finishes the final wood piece. It is always amazing to see how, on first sight, a piece of furniture looks quite simple, but when you try to recreate it, it turns out to be a difficult exercise.
I’m always interested in finding new techniques for modelling as well as making mock-ups. During the design course for the museum in Haarlem I joined a two day workshop in Terrazzo making hosted by ‘Tomaello B.V.’ Already familiar with their work from my internship at ‘Shift-au’ I got to learn more about the process and the almost infinite possibilities. I got to make a sample tile myself. The base colour is a lightly blue concrete with neutral gray marbles. In addition I added multiple sizes and tones of yellow and dark blue stone.
