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Zus lecture The roof, the roof, the roof is on fire! Urban Model Making: a Timeline A Remembrance for the future Journey of Spiritual Healing Attractions by accident Seasonal Spaces After the flame Interview van Aken: World of wonders Column by Oana Druta viaVIA is published by the study-association VIA Urbanism, at Eindhoven University of Technology
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Evoluon, Eindhoven Studiemaquette Heerlijkheid de Eeuwis
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EDITORIAL Dear reader, After the successful previous release ‘A Call For Health in November, Bethel passed on the role of chief editor of the viaVIA to me. Being a part of the team for over a year now, really gave some insights in what a small group of students can achieve and make. Each semester we work hard to make a new viaVIA; sometimes it quite literally requires the classic ‘blood, sweat and tears’, but it is worth it, every time again. Everybody in this committee really puts in time and energy often with very interesting and inspiring articles as a result! This edition demanded a lot of our energy, so I would like to thank my fellow committee members for your contributions. It was not a smooth ride, but we got there. I proudly. present to you the 58th viaVIA edition! One of the aspects which VIA really excels at is the rich diversity in organized activities. During the last semester multiple lunch lectures were held, we visited the Noord-Zuidlijn in Amsterdam, informational Vectorworks and GIS workshops provided knowledge to improve the students’ designs, and more. Two of these activities have a place in the magazine, so that you can get a taste of how it was, especially if you were not there! The excursion to Amsterdam is the first one, telling the story of an exceptional, but also monstrous development. It is remarkable how such a large scale project could be realized in our dense capital, you can learn about this process in the article. ZUS starred in the last lecture before Christmas, which ended with a glüwhein fueled discussion at the end. Kristian Koreman told the story and the ideas of the company, where the uniqueness of a place is the backbone of their choices. The theme of this edition is spatial charisma. It includes subjects related to how places bring people together, how they were, are or can be attracted to these places and gives a selected insight into the almost unlimited amount of possible variables that can influence it. In the end, this collection of articles pretty much shows the wide variety of options and directions that are out there defined and supported by humans and our (natural) environment.The theme section kicks off with a rather emotional, but also important topic in recent Dutch history: the memorial of flight MH17. In contrast to this, the following article discusses how places can become of great importance unintentionally; how do different events and happenings influence and change our places? Seasons often change our behaviour outdoors, and while often overlooked, they play a key role in how a space will work out in the end. Here you can read how a fountain can be turned into ice skating rink. Next is a phenomena that has a major influence on spatial attraction; religion. Journeys with a spiritual drive are among the most constant movements in society Year 25, number 58 - April 2019
and are valuable to understand correctly! On the next pages you can read about the lifecycle of the temporary attraction of the Olympic town, and all the challenges that come along. Finally Van Aken Architects tell us about their collaborations with the Dutch fairytale land; the Efteling. Students of this university always work hard on projects, especially making models can be very demanding. To help you out, we uncovered some of the workshop secrets and collected some handy tips and tricks to make them even better in the future! Next, an article written by Patrick Limpens describes his master project about the Big Industries Campus. Furthermore, Veerle Roijackers tells about her graduation project on the last pages. The magazine is concluded with a interesting column about Tokyo’s 2020 Olympics by Oana Druta. On behalf of the committee, I hope you enjoy reading this edition and learn from it. Maarten Kamp Commissioner Public Relations Editor-in-chief viaVIA 2018-2019
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CONTENTS Colofon ViaVIA, published by study association VIA Urbanism, TU/e
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Vectorworks
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News
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Trends The roof, the roof, the roof is on fire! Excursion North/South Metro Line ZUS lecture Urban Model Making: a Timeline
year 25 number 58 Eindhoven, May 2019 ViaVIA is published by: PR-committee VIA Urbanism Den Dolech 2 (Vertigo 02)
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E-mail: via@bwk.tue.nl www.viaurbanism.nl facebook.com/viaurbanism Editors Maarten Kamp (editor-in-chief) Stefan Dermaux Bethel Lemma
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Sarah Al Kaissi Peyvand Taremi Asal Ramezani
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Greetings from Spain VIA Abroad Scotland
Guest Editors Daria Beliavaskaia Daan Clercx
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Spatial Charisma
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A Remembrance for the Future Article: Asal Ramezani Journey of Spiritual Healing Article: Peyvand Taremi Attractions by Accident Article: Sarah Al Kaissi Seasonal Spaces Article: Maarten Kamp After the Flame Article: Bethel Lemma Interview Van Aken World of wonders: Efteling behind the scenes
Oana Druta Chloe Jefferson (Vectorworks) Marc LaudoMoya Patrick Limpens Haruka Maeda
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Veerle Roijackers Printing DrukwerkMAX (Zoetermeer)
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ISSN 1385-7045 Picture on cover:
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Tourist with camera by Kenny Luo Source: Unsplash
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Theme picture: Universal Studios, Singapore by Chuttersnap Source: Unsplash Corrigendum:
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The picture in edtion 57 of the 26th VIA board was taken by Eline van Leeuwen
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Master Project The climate resilient city Graduation Project Intermediate space ≠Empty space Tokyo’s 2020 Olympics
Column: Oana Druta
© Dries Pattyn, School of Arts Ghent - Benelux Winner Vectorworks Design Scholarship 2017 for Landscape
Win $10,000 + exposure Any field. Any software. Any design. Apply for the Design Scholarship by August 29, 2019
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VECTORWORKS.NET/SCHOLARSHIP
SAFE LANDING FOR MIGRATORY BIRDS McGregor Coxall to turn a landfill into a safe landing for migratory birds Birds of a feather flock together is a proverb we’ll soon see in action through urban planning firm McGregor Coxall’s project in Tianjin, China: “Bird Airport” aims to decrease the number of endangered bird species by providing a safe place for migrating birds to access shelter and food during their long journey across Asia. Every year, more than 50 million birds migrate from the Antarctic to the northern tip of the Earth across the East Asian-Australian Flyway (EAAF). By the time the birds reach the Port of Tianjin, they have already traveled for more than 6,000 miles for 10 days nonstop. This arduous journey makes the Bird Airport a crucial stopping point to ensure their survival. Adrian McGregor, founder and CEO of McGregor Coxall, shared his excitement about the project, saying, “The Earth’s bird flyways are a wonder of the natural world. The proposed ‘Bird Airport’ will be a globally significant sanctuary for endangered migratory bird species whilst providing new green lungs for the city of Tianjin.” With enough capacity to support the needs of more than 50 species, roughly six miles of forest will surround the sanctuary and protect the birds from nearby urban developments. Additionally, the Bird Airport will include a wetland park and bird sanctuary, incorporating various water habitats such as an island lake, a reed zone, and mudflats. The eco-friendly and innovative project will incorporate green infrastructures, including constructed wetlands, parklands, and an urban forest. To ensure eco-friendly regimens, the design will use Year 25, number 58 - May 2019
renewable energy in the Bird Airport to move recycled waste water and harvested rain water through the wetlands. Visitors and locals will also be able to enjoy McGregor Coxall’s bird sanctuary by taking advantage of the design’s wetland trails, lake loop walk, cycle circuit, and forest walk. In total, there will be 4.5 miles of recreational nature trails to appreciate. Plus, a high-tech visitor education and research center will help accommodate the high influx of visitations per year. The center will give visitors access to cameras in 14 bird hides, allowing them to get an up-close view of bird life while not intruding on the animals. There will even be an observation walkway with observation pods, offering sightseers a chance to watch the birds as they take to the air. To complete this project, the McGregor Coxall firm relies on the 3D modeling and site design tools within Vectorworks Landmark software, which offers tools geared toward streamlining landscape-specific design and BIM workflows. In reference to Landmark, McGregor says, “the software we use has to be intelligent in terms of our carbon footprint modeling. With intelligent BIM, smart symbols, and coordinated worksheets, Landmark gives us the ability to make this happen.” Thanks to McGregor and his firm, not only will there be an innovative Bird Airport providing a safe environment for endangered birds, but also a popular attraction will be established where visitors can observe a range of bird species in a natural habitat, allowing them to truly connect with nature. Chloe Jefferson www.vectorworks.nl
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NEWS Miami’s Climate Gentrification Gentrification is a well-known problem occurring in many cities around the world. Residential areas in the city are improved over time, which results in higher valuation of the neighbourhood and higher housing prices. Wealthier residents force out the poorer, original inhabitants as homes in the upgraded area become too expensive for them. A special case of unintentional gentrification is happening in Miami. As climate change causes the level of the Atlantic Ocean to rise, the risk of getting flooded in lower situated areas is increasing. Houses on higher grounds are becoming more and more desired. Elevation is now a selling point. Many of the higher situated neighborhoods have low income communities. These residents are now facing higher housing costs with displacement as consequence. Rent and dwelling prices skyrocket, and inhabitants or businesses have to move away to South Florida for example. A disadvantage for these people is that city codes make it difficult to protect the original residents. A provision for developers who acquire at least nine contiguous acres and commit a small percentage to open space, state that these developers can avoid moving roads, delaying community consultation and restrictions regarding height and density until late in the planning process, often too late for inhabitants of the area. Some developers voluntarily set aside affordable housing and business units, however this covers very little of the city. The municipality made plans to study the problems regarding affordable housing, however advocates state that quick action should be taken.
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Evoluon Sold The Evoluon has the same meaning for Eindhoven as the Eiffel tower has for Paris, the canals have for Amsterdam and the Guggenheim has for Bilbao. The city icon, which is a state monument since 2013, has always been in possession of Phillips. Built in 1966, the UFO shaped building was a prestigious project which became the place for the company to show their inventions to the world and exhibit technology in a museum. Due to financial problems, the function of the building switched to a congress center in 1996. However, the building has been unsuccessful for many years now and Phillips wants to get rid of it. The building and its surroundings were put up for sale, but not only finance played a role. Phillips wanted a buyer with an Evoluon worthy future perspective. Hurks- and Foolen & Reijs real estate won the bid for the project. Their design, made by Buro Lubbers landscape design and urbanism, creates a green biodiverse park filled with blossom trees where different activities can take place. The park is surrounded by new strips of buildings, forming a barrier between the pollution- and noise producing infrastructure and the park, creating a quiet and natural area. Openings in the building strips give a spectacular view on Evoluon and the park. The concrete UFO will become a public place where technology will be shown to the average man, although the exact infill of the buildings is not yet determined. The projects will have to be developed further, however the sale of the building is already an important step in redeveloping this important area of Eindhoven.
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Donec elit libero, sodales nec, volutpat a, suscipit non, turpis. Nullam sagittis. Suspendisse pulvinar, augue ac Bronvermelding afbeelding venenatis condimentum, sem libero volutpat nibh, nec (...) Sources: Graffiti in Times Construction pellentesque velit New pede Roman quis nunc. Vestibulum ante (...) starts on The Spiral Facility Executive. (2018), Concondimentum nec,one tempor struction a, commodo On The Spiral In mollis, NYC Set A jungle of graffiti tags orci on aluctus wall etdoes in New York city forms ipsum primis in faucibus ultrices Hudson posuereYardmetus, To Begin. Retrieved from: https:// magna. Vestibulum ullamcorper mauris at ligula. Fusce facilityexecutive.com/2018/04/ not make sense to id many people. Often huge construction site, as five skyscrapers cubilia Curae; Fusce purus. Ut varius tincidunt libero. construction-on-the-spiral-in-nycfermentum. Nullam cursus lacinia erat. Praesent blandit set-to-begin/ considered as vandalism, the vestibulum texts cannot mollis are diam. to be raised in the area. The place is to Phasellus dolor. Maecenas laoreet nibh. be understood as the sloppy writings become Olick D. and Posse E. (2018), Pellentesque ut neque. Pellentesque habitant morbithe newest cultural and commercial Rising Risks: ‘Climate gentrification’ can hardly be read. Mathieu Tremblin, in the heart of Manhattan. One of tristique senectus et netus et malesuada fames center ac turpis is changing Miami real estate values for luctus better and worse. CNBC. Fusce ‘The convallis adipiscing. aegestas. French artist, wanted a solution for the the towers, called Spiral’, metus will be a id 65 felis-Retrieved from: https://www.cnbc. Pellentesque egestas, neque sit amet convallis pulvinar, com/2018/08/29/climate-gentrifiunreadability of the tags. He designed stories high-rise office building containing cation-is-changing-miami-real-esjusto nulla eleifend augue, ac auctor orci leo non est. tate-values.html aIn program called ‘Tag eget, Clouds’, which et,over 260 thousand square meters of floor dui magna, posuere vestibulum tempor Quisque id mi. Ut tincidunt tincidunt erat. Etiam feugiat Rhodes M. (2016), Don’t understand recognizes tags replaces them malesuada by the space. auctor, justo. In and ac felis quis tortor pretium.Besides offices, the building will graffiti? Here it is translated in lorem non metus. Vestibulum dapibus nunc ac augue. same texts, however written in fonts contain Helvetica. Wired. Retrieved from: Pellentesque auctor neque nec urna. Proinassapien ipsum,retail spaces and a large lobby of https://www.wired.com/2016/07/ vestibulum Arial, Times New Roman. 10 meters high at thealiquam base ofleo. graffiti-tags-look-like-helvetica-timesporta Helvetica a, auctorand quis, euismod ut, mi. As Aeneanapproximately viverra Curabitur new-roman/ the typeface is flipped, Tremblinhabitant providesmorbi a the tower. The project designed by Bjarke rhoncus pede. Pellentesque tristique auteur Redactie Naam ED (2018), Het Evoluon is street art et translation Thefames texts vary Group occupies the entire city block senectus netus et service. malesuada ac turpisIngels egestas. verkocht: vijf vragen over het iconische gebouw. Eindhovens Dagblad. in which them look Vivamus located Ut size non and enimcolor eleifend felismake pretium feugiat. quisbetween 34th and 35th street. Retrieved from: https://www.ed.nl/ eindhoven/het-evoluon-is-verkochtlike a word could. Tremblin magna. loves tagging The skyscraper contains a green spiral in mi. Phasellus a est. Phasellus vijf-vragen-over-het-iconische-gebouand has painted a lot of graffiti himself over the facades, twisting around the building, w~a2c6de0a/ the past few years. With this service, he giving a signature to the project. 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Tremblin the building, existing of glass cascading ws_181220_1807_Evoluon.html Morbi ac felis. already startedaugue the project in 2010laoreet, in atria, contain both hanging and standing Nunc egestas, at pellentesque felis eros Third: Graffiti translated in Helvetica. Retrieved from: https://www.wired. French as Nantesvelit andleo Rennes, vehiculacities leo, such at malesuada quis pede.gardens. Donec It provides greenery, daylight com/2016/07/graffiti-tags-look-likehelvetica-times-new-roman/ however is not accessible to anybody yet. diam andsagittis outside air to the floors in the tower. interdum,itmetus et hendrerit aliquet, dolor Fourth: The Spiral. Retrieved from: Technology today brings lightvelto mi. the Nunc Thenulla. real estate investor of the project, ligula, eget of egestas libero new turpis https://nypost.com/2017/08/25/ pfizer-set-to-move-into-the-spiral-onidea. Pokémon Go showed the possibilities Tishman Speyer, which has a portfolio Fusce risus nisl, viverra et, tempor et, pretium in, sapien. far-west-side/ of augmented reality, easy tolorem. use with your in New York city including the Chrysler Donec venenatis vulputate mobile phone. Your smartphone could building and Rockefeller center, says it is do similar things with the replacement of a perfect Morbi nec metus. Phasellus blandit leo ut odio. complement to their previous graffiti tags. It does not exist yet, but could work. The project costing over 3.2 billion Maecenas ullamcorper, dui et placerat feugiat, eros soon reality. pede be varius nisi, condimentum viverra felis euro nuncisetplanned to be completed in 2022. lorem. Sed magna purus, fermentum eu, tincidunt eu, Stefan Dermaux varius ut, felis. In auctor lobortis lacus. Quisque libero Year Year 25, 25, number number 58 58 -- May May 2019 2019
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TRENDS “The roof, the roof, the roof is on fire” The Netherlands is one of the densest populated countries in the world; known by the clause ‘is the Netherlands a compact country or a dispersed city?’ This challenges the Dutch to come with resilient solutions by using the land efficiently. Many initiatives bring new, bold ideas to the cities in order to make our densely populated communities work. An illustrative example of one of these initiatives is the Rotterdams’ perspective on the role of roofs in the city. The - 14th of may 1940 - bombardment of Rotterdams’ city centre and the fire that followed, cost approximately eight-hundred fifty human lives. This catastrophe resulted in the destruction of around thirty thousand buildings. There was need for a thorough reconstruction, and thanks to the city architect Willem Gerrit Witteveen, a reconstruction plan was laid out for a completely new centre in Rotterdam. What is particularly interesting about this plan is that it gave Rotterdam a large share of flat roofs compared to other cities in the Netherlands. Approximately, fourteen million square meters flat rooftops lie to waste, one square kilometer of which are in the city centre. A land full of empty flat roofs; a second ground level, if you may. This phenomena led to the emergence of the well-known, present day concepts: ‘Rotterdam Bovenstad’ (Rotterdam overhead-city) and ‘Rotterdamse dakendagen’ (Rotterdams rooftop days). The municipality of Rotterdam is experimenting with rooftops by using them as contributor to nature, urban cooling, collecting rainwater, etc. and making it part of the city. With the shortage of land and the abundant need of healthy living spaces, the flat roofs seemed
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like the perfect opportunity to provide the city with a whole new world. These flat roofs are a gap in the market, or better, a gap in the sky. Plenty of space to experiment with additional houses, expressional art and architecture, greenery, you name it. According to architect Winy Maas and councilor Ronald Schneider, the roofs are the unexplored territories of Rotterdam. Maas says: “The roofs of the city centre are ideal: flat. Make a scenic staircase to the beautiful roof of the Doelen. Then a pedestrian bridge to the Codarts building. Turn right to the roof of Weena, cross at Unilever and then down the staircase again at the station. The parks, pavilions and bars on the roofs are visible from the street which will help it open up. Citizens will get the feeling that the roofs are accessible and so the roofs become one with the rest of the city.”
“Above our heads lies a whole new world of opportunities.” Densifying the city centre in Rotterdam has been the most important goal for the municipality. According to Winy Maas, this is even the future of the city: Do more on the same surface, especially more different types of things. To mix housing, commerce and production is to make a lively city. Lately there has been a lot of new building projects in the city centre, especially because living in the centre is becoming popular again. According to Maas, this brings Rotterdam to a new phase, because when the city is used more intensively the aesthetics and livability of the spaces (like roof terraces) become more important. These spaces will become part of the public space. With more inhabitants living in the city
https://stadmakerscongres.nl/congresprogramma/daken-ontdek-onontgonnen-daklandschap-rotterdam/
centre, these spaces are claimed and taken care of so the value of the places can be increased. Didden village is one of the most famous pilots in the concept of not wasting flat roofs. This project, by MVRDV, was the cornerstone and trigger to the whole Rotterdam-roof-movement. It was built more than ten years ago. The Didden village consists of two houses, little streets and a big patio all coated with a sky blue color. It’s built on top of a house in the Beatrijsstraat in West, the bright blue color perfectly represents how the sky is not the limit. Or better, the roof is not the limit. Now, ten years later, there are more examples of rooftop projects. All these projects contribute to the quality of the city and boost the prices and demand up for many apartments. Many projects that are built on top of roofs are mainly roof terraces, luxury bars and restaurants. But there is still a long way to go for the roofs to really be one with the public space on ground floor. The challenges of developing public connections, living spaces and the needed densification on roofs are high. Luckily, Rotterdam is confident that they will get there and achieve a second city on their new ground floor above the old ground floor. Let’s put those roofs on fire!
https://www.treehugger.com/urban-design/uk-may-allow-upfilling-building-homes-rooftops.html
Picture made by Bas Czerwinski, retrieved from http://www.stedebouwarchitectuur.nl/ nieuws/170516/de-trap-naar-dak-groot-handelsgebouw-geoapend
Bethel Lemma
https://suitcasemag.com/travel/explore/restaurants-rotterdam/#jp-carousel-132868
Year 25, number 58 - May 2019
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EXCURSION NORTH/SOUTH METRO LINE On July 2018 Amsterdam was shaken by a very special event – a metro line that connects the North and the South of the city has been finished after 25 years of designing and building. This event inspired VIA to unite with AnArchi for an excursion – after all, metro stations are projects on the verge of urbanism and architecture, especially when the architects are Benthem Crouwel Architects. Naturally, good connection allows more people to come to the area, and triggers new urban developments. To observe the metroline, we met up with Pi de Bruijn from Architekten Cie., responsible for the first master planning and multiple buildings in Amsterdam Zuid. For those of you who missed the excursion, or would like to recap: let’s have a look at the main concepts used in the creation of the North-South metro line. Intuitive routing One of the main concepts for this metro line was to ensure that the passengers are entering and exiting the metro in an intuitive and straightforward way. The movement can be compared to a waterfall – guided by the light, people flow down to the check-in level, and then further down to the platform. The metro becomes a continuation of the public space rather than a separate structure. This suggestion was given by the
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architects to the selection committee in the 1990’s and allowed them to win the competition. At that time it was a unique way of thinking – metro’s are historically filled with tunnels and labyrinth-like passages (think of metro networks like in London or Pari). Protecting the city The main task for everyone working on the NorthSouth metro line was to ensure that the existing areas in Amsterdam were not damaged or changed during construction. This was possible because of new drilling technique that allowed to create tunnels in the soggy soil of Amsterdam. The tunnels had to go between, and sometimes below (at over 30 meters) the wooden stilts. The only station that broke the rule was de Pijp - due to the limited space in the existing urban fabric the entrance had to be created on the ground floor of a residential building. What makes this station even more unique is that the platforms lie below each other at 16.5 and 26.5 meters depth. Materials and lighting Grey colors form the base of every station, and for a good reason: the architects wanted the metro to be a continuation of the street. The neutral colors allow the people of Amsterdam to follow the brightness, and ensure ease of maintaining the stations.The lighting is
made so that people can find the exit intuitively – this is achieved by using different warmth of the light, giving an effect of natural light closer to the exits. Art pieces Around the same time when North-South metro line was being designed, Jan Benthem went to the USA an saw artwork by Dale Chihuly. A long and narrow swimming pool in a dark room, illuminated by art lying on the bottom of the pool, became the major inspiration for designing the stations. Each station now has some unique pieces of art themed “From neighborhood to the world”, connecting the metro to the city and making the stations recognizable. Archeology Something that was not planned but became the main characteristic of station Rokin was the discovery of 700.000 archaeological objects during the construction. Some of them are exhibited between the escalators, and the whole collection is published online at belowthesurface.amsterdam/en
Drawings: Benthem Crouwel Architects
Next time you are in Amsterdam, don’t forget to check out the stations of line 52! Daria Beliavskaia Year 25, number 58 - May 2019
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Retrieved from: https://www.dezeen.com/2015/07/16/luchtsingelelevated-pathways-bridges-rotterdam-cityscape-zus-architects/
14 Retrieved from https://ossip.nl/gallery/luchtsingel-schieblock/14od6421/
ZUS ARCHITECTS ZUS, Zones Urbaines Sensibles, is an interdisciplinary urbanism and (landscape) architecture bureau based in Rotterdam and New York. ZUS is mostly known for the rewarded world’s first crowdfunded public infrastructure, the Luchtsingel bridge. Their current works include many international projects such as a metropolitan vision for Marseille (France), a plan for the New Meadowlands in New Jersey (US), and the design for a music venue and a cinema in Rotterdam (NL). It was a great honor to receive Kristian Koreman, the co-founder of ZUS, for a special edition lecture on December 18th. During this memorable lecture, we got to discover a little about their ambitious trajectory and vision of the firm and how that journey led to the creation of the book “City of permanent temporality: incomplete & unfinished” which was published on January 31st of this year. To make this lecture even more special, our incredible teacher Sophie Rousseau participated as a guest who welcomed Kristian and guided us through a Q&A session after the lecture. The event took place in the last academic week of 2018 amidst the nice christmas atmosphere, and was followed by an informal discussion with the students who attended with some gluhwein and christmas sweets.
This long and persistent journey led to the creation of the beautiful Luchtsingel, which is now the city’s icon. This crowdfunded project is what Kristian calls a threedimensional cityscape, which connects different districts with diverse functions and public spaces. He showed us how investors could visibly “own” the bridge since the crowdfunding was done by allowing people to buy buy a timber board with their name on it which would be used for cladding around the bridge structure. In 2012, the Luchtsingel won the Rotterdam City Initiative which granted more financial aid and being able to complete the project. This inspiring journey of exploration and ambition to design a better city showed us how experiments, creativity and collaboration are keys to tackle the problems of the constantly changing era of “permanent temporality”. Haruka Maeda
Kristian introduced us to the world of ZUS by a presentation from the early experiments and solutions to challenges that the firm faced in Rotterdam. The story went all the way back to when Rotterdam emerged after the bombardment of the city during World War II to, the megalomaniac transformation that birthed high rise buildings and wide, vehicle-oriented traffic lanes. The beautiful images of pedestrians strolling around the station had disappeared. The new city was also meant for the inhabitants, but something different was happening. The lack of qualified proper public space -for the peopletriggered them to explore different strategies of the city making. They knew they had to change and create a public space which will be once again full of pedestrians like it used to be. For them the city planner’s mindset of post crisis “instant urbanism” had to change to what they named the “permanent temporality”. The city needs to constantly be able to transform and adapt. However, that was not a simple task. It meant that not only the city planners but also the inhabitants, investors and designers all have to participate in the same sphere and still manage to equally benefit from it. Furthermore, the government will not always be able to complete their plans, as the office development plan had to be stopped in Rotterdam in 2011. This dynamic and constantly changing demand is what ZUS explored over the years, by going to the street, organizing events, through interviews, manifestations and negotiations. Year 25, number 58 - May 2019
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URBAN MODEL MAKING: A TIMELINE iv. Choose your materials. For others to understand your design, the right material must be picked. The variety of materials you can choose from is almost unlimited. v. Think carefully about the colors you are using. Using grayscale colors for surroundings and realistic colors for your design emphasizes your idea and what you want to add to the existing urban tissue. Working with reflective surfaces can add great depth and character to your model. It can give a more spacious and accurate feeling of your project. vi. Pick the right tree! Your choice of trees can make or break the aesthetic and/or essence of your model. If your model is not necessarily about the trees, try not to allow the color or size of your trees overpower other elements of your model. Source: https://nl.pinterest.com/pin/462041242997113573/
https://www.archda
1. Planning your model Planning your model is the first and most important step. Do not underestimate it and do not be ashamed if it takes a long time, it will save you lots of headache! i. Think about what you want to show. To save yourself loads of time trying to include everything in a model, think about what your model is aiming to communicate. A model should add something new to your drawings. Models can show information which cannot be communicated by illustrations. You can also try to develop your project a step further by using your model. ii. Choose the right scale. The smaller, the less detail you can show and the more abstract it gets. Larger models allow you to show more details which will make your model more specific but are also more time consuming. iii. Think about the tools you want to use, and which tools are available for you to use. Only use certain tools if they add value to the process of model making. If objects don’t need that much detail, it might be best not to use a 3D printer or laser cutter, but take note of all the possibilities.
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Source: http://www.arkitera.com/galeri/detay/125319/22/Proje/3416
III. Final touches Now that the hardest work is done, it’s time for the final touches. i. Make a title block. Be sure to name your model and include your name or logo. Make sure to add an arrow to indicate where north is and remember to indicate the scale. ii. Take plenty of high quality photos of your model in desired lighting. These will come in hand when you are putting together a portfolio to show your skills. iii. Showcase your model! You can make a custom stand for it! iv. Make sure to store your model somewhere it cannot gather too much dust when it’s time to put your creation to rest. No dust free storage? A bed sheet can always double as a dust cover. Stefan Dermaux and Sarah Al Kaissi
aily.com/243803/botin-center-renzo-piano/maqueta-centro-botin-3-baja
II. Making your model Keep your goal in mind, wash your hands frequently, keep your table neat, mark your model pieces, and take frequent breaks! i. Keep your goal in mind. It is easy to spend too much time on small details which eventually are not that important. Don’t do too much, but of course also don’t do too little. ii. Wash your hands! While working on a model, washing your hands between certain steps is very clever, especially when working with a white material. Oil, dirt, crumbs from your food or excess glue on your hands can become visible on your materials, and that is not a good look. iii. Try to keep your workspace clear. When focusing on your model, often a mess of materials and tools arises. Keeping your workspace clear will save time and frustration in finding what you need. iv. Take your breaks! Make sure to escape the glue and wood fumes regularly. Year 25, number 58 - May 2019
Source: http://conceptmodel.tumblr.com/
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GREETINGS FROM SPAIN
I have always found it interesting to go abroad to get in touch with different cultures and learn about other approaches in architecture. Therefore, when I had the opportunity to do so, I applied to this program straight away without any hesitation. I must admit that I had trouble choosing a country, but The Netherlands had been in my mind for several years. Before making the final decision, I already had been in the Netherlands two times and I really liked the country, but that single reason was not decisive. Back home, I had classes with a teacher who had done his Urbanism Master in The Netherlands. We spent six months studying some areas of Amsterdam together (for example, the Plan Zuid of Berlage or the new boroughs of the east). I started learning about new concepts and trends of landscape urbanism while being tutored by him during my Master project and became deeply interested in the approach the Netherlands has towards Urbanism, so I jumped in and applied to Eindhoven. The first thing that surprised me when I got here was the way studies are organised. Not only the duration, but also the specializations of the study are different. In Spain we have five years of bachelor´s and one year of master´s (which allows you to work as an architect); in fact, I am in the 5th year of my bachelor’s, which is the equivalent to the 2nd year of Master’s in Eindhoven, of which I am taking my courses now. Besides, we don’t have a distinction between architects and urban planners; we’re in contact with both areas while architecture always plays the leading role.
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Coming here has allowed me to go more in depth in urbanism and applying new ways of approaching a project. Something I have found interesting is the ¨Spread Urbanism¨ of the Netherlands compared to Spain, where only 13% of the surface is occupied. The occupied surfaces come in the form of cities with big densities like the ones found in Barcelona, where we have the most densely populated square kilometre in Europe with more than 53.000 people. Beyond that, I was actually really surprised by the biking infrastructure; back in Barcelona we are still way behind in that matter, and the transformation of single traffic lanes into bike roads has led to many debates. Other than this, I really liked the environment of TU/e and I have met a lot of new people. Before coming, I was afraid to be pointed out as the outsider, the Erasmus guy of the class, but it turned out that there were a lot of international people studying as well and I have felt part of the group since the beginning. To sum up, my experience in Eindhoven has been great and unlike any other I have had. I will never forget it, and I would encourage anyone who has the opportunity to study in a different place than their home country to do so. Marc LaudoMoya
VIA ABROAD SCOTLAND In September I flew to ‘’rainy’’ Scotland. Or at least rainy is what everyone says, however my own experience was otherwise. The climate felt no different from the Netherlands to me. When I arrived at the airport in Glasgow there was already a meet and greet service waiting for internationals going to the Strathclyde University. This was the start of the introduction week. The welcome week was perfect to get to know my roommates and my other new friends from all over the world. I met people from France, Spain, Germany, Brazil, the United States, Australia and lots of other countries. Getting to know these people and their cultures was one of the greatest things about my time abroad. My curriculum in Glasgow consisted of an urban design course in which we looked at various cities in Europe, an international workshop in which we redesigned and actually built elements for a park, a class in which we investigated how architecture and urbanism can improve mental health and a master project about political space. In general I would say that studying at another university broadens your vision. Every university is different and has other focus areas. As I experienced, Strathclyde University is more focused on architectural freedom and arts instead of the technical minded TU/e. Within the master project, I was allowed to design what I want and where I want. This freedom made it both incredible hard, but it also opened doors and allowed me to think outside of the box.
joke to the local community; ‘’Maybe you should install some sprinklers’’. Glasgow has a strict city grid, like the New Town in Edinburgh but on a bigger scale. In fact, the whole center of the city is part of this grid. For architects and urbanists alike there is enough to enjoy in Glasgow, with big landmarks like the Glasgow University (or Hogwarts) and small landmarks like the statue with the cone on his head. The cone is often removed by the police, but locals always place it back and sometimes there are even two or three cones on the statues head. ‘’People make Glasgow’’. This Slogan makes much more sense to me now. The most important memories of my time abroad are the memories I share with other people. A great example of this is how in the first two weeks when we decided to join a surfing trip (yes, surfing in Scotland is possible) in the weekend. We shared an accommodation with more than fifty people. The socalled accommodation was little more than a barn. It was freezing cold to surf in Scotland but it was more than worth it. This was the weekend I made friends for a lifetime. To conclude, I would say your Erasmus time is something very special and you should make the most out of this experience. Daan Clercx
Apart from the studying, going abroad is also about parties, making trips and visiting other places. In short: making the most of your time. I made plenty of daytrips and weekend trips in Scotland to explore the country. The landscape is very different from the flat and planned landscape of the Netherlands. Rocks, mountains and lochs (lakes) are spread wildly in a vast landscape called the Highlands. On the remote islands there is little to no activity apart from some very good Whisky distilleries and local economies. At the south side of the country there are the two main cities: Glasgow and Edinburgh. Both of these cities have a long and ever changing history. Many of these historical elements are still visible in Glasgow nowadays; Georgian architecture, industrial architecture and modern architecture are all present. Unfortunately the iconic School of Art by Charles Rennie Mackintosh burned down recently for the second time in a few years, causing our teacher to make the not-so-subtle Year 25, number 58 - May 2019
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SPATIAL CHARISMA Urban spaces and places are defined by either their generic or more specific functions and their everchanging surroundings. In the end however, they serve a certain goal such as an aesthetically pleasing leisure garden, or a more pragmatic, but still needed parking lot. Interestingly enough, spaces can have a wide variety of uses over time, with unexpected versatile outcomes or, if anticipated well, the intended results. The reasons for the amount of success, or the simple fact whether a place ‘works’ or not, can easily be beyond comprehension. The attractiveness of a place has to do with more than one simple variable. Certainly, there are general guidelines that provide basic, steady results, but there are also aspects that can be unraveled for a specific place only. Some enjoy a more natural way of significance, because of its long existence or fundamental societal
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function that is always needed. Others really have to be designed and made for success. In this theme section we explored some of the different ways Spatial Charisma can be explained in reality. The different topics provide insight in how the different variables can work out, but also what can be overlooked easily. Moreover, there are aspects that you, as a designer, maybe never really thought of, but can be fundamental in future developments. Being aware of a situation in multiple dimensions can really transform a good design into a exceptional one, and using and understanding Spatial Charisma may bring new insights to the ever changing table. Maarten Kamp
Year 25, number 58 - April 2019
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A REMEMBRANCE FOR THE FUTURE
Spatial Charisma
There are some places that we all have been to and formed a specific connection or memory with. Places that make you remember and feel certain emotions every time you step in them, sometimes just by intention to remember all that has happened during the time of your presence orz forget about everything else for just a little while. If you think about it, some of these spaces have become of great importance unintentionally, and may only be meaningful because of the way and time you have experienced it.
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The case of the rather emotional incident of MH17 was however different. Let me first take you through a short background. The regularly scheduled Malaysian flight (MH17) departed from Amsterdam to Kuala Lumpur on 17 July 2014 with 283 passengers and 15 crew members on board. Among these, 193 passengers were Dutch, followed by a majority of Malaysian and Australian passengers. The aircraft disappeared from the radar screens about 50 km away from the border of Russia and Ukraine,
being above the minimum altitude restriction zone put in place by the Ukrainian authorities only a few days prior. The plane was shot by a radar-guided missile and the cabin crew members were killed instantly, while the other parts of the aircraft exploded mid-air and finally crashed near Torez in Donetsk Oblast, Ukraine. The wreckage was scattered over an area of 50 square kilometers with the majority of the pieces landing in the southwest of the village of Hrabove. The bodies not only fell in the crop fields but also in front of the houses, causing a horrifying memory for the residents. This tragedy has changed the lives of many, both in a direct and an indirect manner, and in fact, one of the most heartbreaking parts of it would be the eighty children on board. MH17 has left a lot of memories for people across the world, and mostly in the Netherlands. The nation lost 193 individuals in this accident, making Amsterdam a suitable location for the memorial. Here is where it differs. There are existing spaces which you form an attachment with and there are places
that are created due to existing emotions which need to be mutually shared within people. This is what the memorial of the MH17 does, giving sorrow a location. The memorial was therefore proposed to be a place for various groups of people and the world in general, due to the location and the mutual sharing of empathy. Thus, making it a public space where people gather to remember and forget, pay respect to the deceased and bring peace upon themselves.
Sources: Knipp, Kersten (2017c, July 17). MH17 ‘Dutch 9/11’ memorial gives sorrow a place. Consulted on March 28, 2019, from https://www.dw.com/ en/mh17-memorial-to-dutch-9-11to-give-sorrow-a-location/a-3971 National Monument MH17. (nd). Retrieved March 28, 2019, from https://www.monumentmh17.nl/ MH17 Memorial + Park. (nd). Retrieved March 28, 2019, from https:// matterbetter.com/competitions/s/ mh17-memorial-park Lewis, ROBERT (2017, September 20). AVIATION DISASTER, UKRAINE [2014]. Retrieved March 28, 2019, from https://www. britannica.com/event/Malaysia-Ai lines-flight-17
For this case in specific, it had to be free from political views, though there are different opinions on the causes of the crash involving different nations and even showing connections with the other missing flight of Malaysian airlines. This monumental space should allow the community members to each connect with their own memories and emotions. Now, the most important part of the memorial would be the meaningfulness of the design and its relation with the tragedy. The idea initiated from the black commemorative ribbon which was worn and chosen as a symbol by the relatives of the passengers after the tragedy. The ribbon is what the memorial landscape design is based on and is clearly visible looking from the sky. The park consists of 298 planted Ironwood and Pine trees, each representing a lost soul. These trees vary in the colour of their leaves and the fruit they grow, making the experience of the space different with every season. These trees are surrounded by sunflowers blooming around July 17th, about the day of the tragedy itself, making the forest a beautiful memory space. “This is almost like an interactive grief process. Its where family members can walk amongst the trees and hear birds chirping and a nice breeze rusting the leaves” and forget about the sad part but start the healing process. As HE Dato, Nazri Yusof, Ambassador of Malaysia also said to the Netherlands, “caring for these trees resembles the commitment, courage and determination in this long journey to recovery”.
Pictures: National Monument MH17. (nd). Retrieved March 28, 2019, from https://www.monumentmh17.nl/
are. The names of the victims are engraved onto the sculpture and if looked upon from above, looks like an eye looking into the sky. Ronald quoted: “I want to make a connection between the survivors- the people, the families- and the victims up in heaven. For the wall, steel is chosen because it is perishable, and it’ll rust and therefore change colors and he again quotes “when it rains, it starts changing colors, as I also want to see the sadness changing”. Of course, used as a metaphor as it would not happen anytime soon. However, even with all the thoughts and effort put into the concept of memorials and monuments and making it a place where they can work with sorrow, most of the relatives will really find peace only when they know what exactly happened with their loved ones and who shot the rocket. As for this case, what happened above Ukraine and the reasons behind it; a sense of clarity. Asal Ramezani
Designer Ronald A. Westerhuis created a 16-meter-long black wall which represents sorrow and loss with a stainless-steel sculpture in front of the wall with a part of it missing, just as the victims of the tragedy Year 25, number 58 - May 2019
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Spatial Charisma
JOURNEY OF SPIRITUAL HEALING
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Traveling is a significant way to see the world, experience new cultures and meet new people. Traveling and tourism can strongly affect our cities and societies. As Taleb Rifai says: ” When tourists meet and show interest in the unique values of local communities, these communities feel empowered. Tourism helps them to take pride in themselves, in their history, traditions and environment.” In fact, tourism brings more than just financial benefits to cities. It revitalizes and invigorates communities. It connects people; from strangers to friends to family. It is a platform for learning. It is a vehicle for adventure. It teaches people how to live with diversity, how to form connections with people whose cultures are vastly different from their own. Tourism is more than just an economic driver; it is a way of life. Nowadays for many tourists, traveling accomplishes many other purposes that do not even have anything to do with the joy of visiting a new place. Cultural tourism is one of the most basic and popular forms of leisure tourism which is concerned with a country or region’s culture, specifically the lifestyle, history, art, architecture, religion, values and other elements that has helped them shaping their way of life. Statistics have shown that never before have so many people visited so many places to learn about diverse
cultures, traditions and faiths. This implies that travelers are becoming more interested in experiencing the cultural history of the places they visit since in this globalized world there is generally more access to cultural assets than ever before. As such, the popularity of cultural tourism is increasing even faster than the growth rate of tourism itself which consequently contributes its fair share to socio-economic growth of cities. Now, religious heritage is a big aspect of cultural history. As a matter of fact, travel motivated by belief has existed long before the origin of what we now call ‘tourism’. Pilgrimages have long been an integral part of the spiritual discipline of religious enthusiasts and since many participants feel committed to making such journeys, religious tourism is a resilient subsector. Every year, more than three hundred million tourists visit the world’s major religious attractions, with around six hundred million religious travels taken globally. Almost every religion in the world recognizes the spirituality of travel. In scripture, various places are given great significance for the roles they play in different belief systems. Some are the birthplaces of gods, some are thought to be gifts from the gods, some are centers of religious leadership and some are simply beautiful
places to worship. These destinations are inspiring, even to the people from different religions and draw pilgrims from all corners of the world each year. In India for instance, religion penetrates the everyday lives of people. The Sri Harmandir Sahib, also known as the Golden Temple, is one of the most important pilgrimage sites in India which symbolizes egalitarianism and humbleness. The building is finished in elegant gold and marble work with a gilded dome, it is surrounded by a holy tank and four entrances that welcome people of all faiths. People from all over the world visit this holy place for spiritual peace and calmness, and pay respect to the Holy Scripture, the Guru Granth Sahib. It draws more than 100,000 devotees every day, and even serves free hot meals to everyone, irrespective of religion or social status. When the golden shades of the Gurudwara reflect on the glistening water below, it truly creates a magical scene to behold. Knowing this, one may wonder how a trip turns into a pilgrimage and what makes an attraction a spiritual destination. Generally speaking, travel is now more popular than it has ever been before. People are travelling more, but they are also changing how they travel. We are increasingly dependent on devices and computers in our daily lives and therefore we crave true connections. These devices have made us more efficient and productive, but not happier. As Phil Cousineau says: “We may log impressive miles in our travels but see nothing. We may follow all the advice in the travel magazines and still feel little enthusiasm. Many people have a longing for something more than what their travels are giving them.” (Phil Cousineau, The Art of Pilgrimage) This could be one of the reasons why people are increasingly interested in visiting sacred sites and spiritual destinations, ancient ruins, gothic cathedrals, burial mounds. Tourists are flooding these places seeking spiritual awakening and transformation and yearning for deeper meaning and purpose. In fact, when a trip becomes a pilgrimage, we find our way back to ourselves. It’s a journey about the heart, it’s a journey about soul and it can be deeply transformative and satisfying. Pilgrimage is not only about traveling to a sacred place, it is a journey Year 25, number 58 - May 2019
of seeing from what the Sufis call “the eyes of the heart”. It’s a journey in which we learn about ourselves, the world around us and each other. In other words, it’s all about seeing more soulfully, listening more attentively and imagining more keenly. Therefore, it could be argued that a spiritual destination does not necessarily need to be a church or a mosque but anywhere you can psychologically recharge your soul and this place could be different for everyone. From an urbanism point of view, Religious tourism can be considered as one of the most effective tools to stimulate inclusive and sustainable development, for three reasons. Firstly, religious tourism raises awareness of our common heritage, which helps to ensure its preservation. Religious heritage sites have an immeasurable value in religious terms and as a source of public education, identity and pride. Secondly, religious tourism can contribute to community development and empowerment. However, this only happens if communities are fully engaged and integrated in the tourism experience around them. Thirdly, religious tourism builds cultural understanding and peace. Tourism breaks down cultural barriers and builds bridges between people, communities and nations; the very foundation of peace. It attracts millions of people united in respect and reverence for the world’s great religions. Religious heritage sites are important meeting grounds for visitors and hosts. These encounters are fundamental to maintaining tourism as a force for good, for everyone, in all corners of the world. Lastly, but by no means least, this historical religious heritage must be preserved for its cultural value, regardless of its religious origins.
Sources: Bermudez, J., & Bermudez, J. (n.d.). Arguments for a Spiritual Urbanism. Retrieved March 28, 2019, from http://www.academia. edu/28898870/Arguments_for_a_ Spiritual_Urbanism Binayak, P. (2017, September 12). The Most Famous Religious Sites in India. Retrieved March 28, 2019, from https://theculturetrip.com/ asia/india/articles/the-most-famousreligious-sites-in-india/ Kotkin, J. (2016, May 07). How to Make Cities Livable Again. Retrieved March 28, 2019, from https://www. thedailybeast.com/how-to-makecities-livable-again Religion and the City. (n.d.). Retrieved March 28, 2019, from http://www. newgeography.com/content/002938religion-and-city The Best Spiritual Places in the World for Every Star Sign - Hostelworld. (2018, July 18). Retrieved March 28, 2019, from https://www.hostelworld. com/blog/spiritual-places-in-theworld/ Picture: Buddhist monk. (2016, November 11). Retrieved March 28, 2019, from https://pixabay. com/photos/buddhist-ritua l - w a t e r- b u d d h i s m - 1 8 0 7 5 1 8 /
Peyvand Taremi
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ATTRACTIONS BY ACCIDENT There are many places in the world that have been made popular because of their appearance or their mention in some sort of movie, serie, app, game or meme. Often these places are rather insignificant or random until interest is raised by some popular platform or event. The place becomes an attraction that people are dying to visit, often not even minding a long travel. Most of the time there is no intent to create popularity; sometimes a place becomes an attraction by accident.
Spatial Charisma
Hotel Sidi Driss The ancient troglodyte building, Hotel Sidi Driss, in the Berber village of Matamata in the Tunisian desert, is also known as the Star Wars Hotel. The Hotel consists of five pits connected by a series of underground tunnels and staircases. It is where Luke Skywalker grew up with his aunt and uncle Lars in Star Wars Episode IV: A New Hope. The connection with the galaxy far, far away has ensured the hotel’s popularity for both day trippers and overnight guests.
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Matamata J.R Tolkien’s “Middle Earth” is mocked up in New Zealand’s picturesque rural village, Matamata, in the heart of the Waikato region (North Island). The Shire’s quaint thatched cottages surrounded by idyllic countryside of meadows, sheep and streams is also known as “Hobbiton” where fans of the series can take tours and pretend they are hobbits. Not quite an attraction by accident, but an attraction nonetheless. Platform 9 ¾ This is possibly the most famous railway platform in the world - and it does not even really exist… Based off of J.K. Rowling’s Harry Potter series, Platform 9 ¾ is a
fictional train platform located in King’s Cross Station in London. In order to be transported to the Hogwarts School of Witchcraft and Wizardry, Hogwarts students have to board the Hogwarts Express at Platform 9 ¾. The students have to run through the brick wall underneath the platform sign, to be magically transported to the platform. Pulitzer Fountain Located in Manhattan, New York, a lot of people mistake this fountain for the fountain in the opening credits of hit TV series Friends. Little do they know, the actual fountain is on a soundstage in Los Angeles. Some sources say this fountain was the inspiration for the TV version. Either way, the resemblance is striking enough to make you want to sing ‘I’ll be there for you’ while splashing around in the water. Kijkduin When the Pokemon Go app was launched in July 2016, it became all the rage. The app with which you can catch Pokemon all over the world has certain hotspots where there are much more Pokemon than anywhere else, the type of Pokemon often depending on the location. Kijkduin, on the edge of a wide stretch of dunes in The Hague, became the Pokemon-capital of the Netherlands, holding a lot of (rare) water type Pokemon spawns. The immense influx of visitors was of great benefit for the business owners in the Kijkduin area, especially near the Deltaplein area where all the Pokemon trainers gathered and Pokemon spawns (or appearances) were the most dense. Due to the excessive amount of visitors, soon the neighborhood, as well as the protected dune area were suffering. Niantic apologised for the nuisance, removed all
Pokemon from the protected dune area and made sure there are no Pokemon on the Deltaplein after 11 PM either. Nusret Steakhouse Remember that viral video and memes of a man flamboyantly sprinkling salt on a steak? On January 7th, 2017, Turkish chef Nusret Gökçe uploaded a video of himself carving a steak and sprinkling salt over his forearm on to the meat. Within 48 hours, the video gained over 2.4 million views and 8,700 comments. A twitter user re-posted the video with the caption “so this is #saltbae” and an internet sensation was born. He soon got a lot of attention from all kinds of social media and his chain restaurant gained a lot of popularity. He now has branches in Abu Dhabi, Doha, New York City, Miami, Dubai and Istanbul. If you visit the restaurant in Dubai, you can get served a piece of flamboyantly salted meat by Nusrat himself! Fjadrárgljúfur Is it too late now to say sorry? It actually is… The Icelandic canyon where Justin Bieber shot his music video for ‘I’ll Show You’ in 2015 was closed down because of mass tourism. The canyon, Fjadrárgljúfur, cannot handle the constant flow tourists and now needs a few months to recover. Although there is some discussion about whether or not Justin is to blame, the Icelandic environmental agency holds Year 25, number 58 - May 2019
him accountable for the massive influx of tourists. Since 2015 the amount of visitors increased with 50 to 80 percent, causing a lot of damage to the canyon. Suicide Forest Aokigahara We covered places that were made popular by their appearance in a movie. Now it is time for a place that was featured in film and social media because of its popularity. It is this Japanese landmark’s gruesome history that made the woods a fitting location for the eerie horror film The Forest as well as an excursion for curious Youtubers. The forest Aokigahara, also known as Sea of Trees, is the most popular site for suicide in Japan. Every year around 200 people try to commit suicide here, of which only half succeed. Death by hanging is the most used method of suicide among the sea of trees. Bad reputation aside, the place in naturally eerie. Its twisting and turning trees, caves, rocky and uneven ground and complete silence are a recipe for death. These were a few of many examples of how online popularity can spark ‘physical’ popularity and also the other way around, creating attractions in real life and creating entertainment in the digital world. We are curious if you can think of an example of your own!
Sources: 40 film locations around the world. (2018, 10 december). Retrieved on 1 March 2019, from https://www. roughguides.com/gallery/40-film-locations-around-the-world/ IJsland sluit ravijn waar Justin Bieber clip opnam na massatoerisme. (2019, 25 March). Retrieved on 25 March 2019, from https://www.npo3fm. nl/nieuws/3fm/387539-ijsland-sluit-ravijn-waar-justin-bieber-clip-opnam-na-massatoerisme Pokemon weg uit natuur kijkduin en excuses Niantic (2016, 7 October) Retrieved on 1 March 2019, from https://www.ad.nl/den-haag/ p o k e m o n - w e g - u i t - n a t u u r- k i j k duin-en-excuses-niantic~a20bc50f/ Puchko, K. (2016, 8 januari). 15 Eerie Things About Japan’s Suicide Forest. Retrieved onp 28 March 2019, from http://mentalfloss.com/article/73288/15-eerie-things-about-japans-suicide-forest Salt bae (n.d.). Retrieved on 28 March 2019, from https://knowyourmeme. com/memes/salt-bae The Fountain In ‘Friends’ Opening Credits Scene Has Been Playing You For A Fool (2018, 17 December). Retrieved on 1 March 2019, from https://www.bustle.com/articles/59386-the-fountain-in-friendsopening-credits-scene-has-been-playing-you-for-a-fool-photos Visit the trolley (n.d.). Retrieved on 28 March 2019, from https://www. harrypotterplatform934.com/pages/ visit-the-trolley Picture: Hobbiton movie set (2017, November 2017). Retrieved on April 5, from https://unsplash.com/photos/ zeW9BQbWmJs
Sarah Al Kaissi
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SEASONAL SPACES
Spatial Charisma
It is one of those always present systems of mother nature we have to deal with; the changing of the seasons. While everybody has their favourites, we have to live through all of them. The summer brings light and warmth, filling the streets with life and happenings. Whereas the darker months of winter gather people in indoor environments, where cosiness and relatives dictate the atmosphere.
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Public spaces in general also go through this cycle of seasons. Its users behave according to the outdoor circumstances. During a sunny spring day, a park can be a lovely place to visit; the plants start to grow and turn green, flowers fill the sky with buzzing insects, squirrels are jumping on the branches, a lot is happening. This is even without any humans; they are just an extra to the already attractive park. Children can play in playgrounds, elderly can sit on benches and just people-watch or you can take a stroll in the park with your dog companion. There is a large variety of reasons to actually visit the park that differs for multiple age groups. On the other hand, if it starts raining
during a typical November afternoon, the park itself is not really a place you would like to visit. It is still there of course, but in this case not really ‘adjusted’ to the situation. This park is no exception. Our cities our packed with urban (recreational) areas such as the park mentioned above. It is often the case that spaces have a very specific function or goal, which work well for the intended circumstances, but not if they differ from this situation. The change of seasons is one of the big aspects that can be overlooked easily, while they can have a great impact on a situation. There are various ways to approach a design or existing space in order to make it season proof. First, some fundamental aspects have to be fulfilled, otherwise the space will not function at all. Seemingly simple elements such as accessibility, space uses, aesthetics and sociability can make or break an urban space. These somewhat generic looking aspects form the very basis of turning a space into a specific place with
meaning. An aspect like ‘space use’ can have a wide range of possible meanings and implementations. You can take into account how the different target groups might use a space, but also how the different times of the year influence these uses. A rather common, but still interesting design element can deal with this change of time quite well. In Örebro, a city in central Sweden, is a good example of a fountain that functions throughout the seasons. The fountain itself is integrated in a square tiling, and is more of a ‘play’ element during the warm seasons. Twenty openings blow water onto the square, creating water columns of different heights and intensities. Children can have some water fun, while their parents can watch and enjoy the little ones. During winter, the square has a different function, because the winter months in Sweden can obviously be very cold. The designers of the square lowered the square with fountain structure compared to the surrounding pavement, creating a basin. This basin can be filled with water and in combination with the freezing temperatures, it turns into a local ice-skating rink. In autumn and spring, there are exhibitions on the square. The flexibility of this space illustrates how different types of people can experience the space during the different seasons. There is some sort of guideline that works for creating lively, multipurpose urban areas, or at least to some extent. This guideline is called 10+, and has a very simple thought behind it, namely that as long as you create at least ten different reasons to be in a place, it will most likely be a successful place. Especially nights, and the darker months of the year form a challenge for designers. Therefore, you should take into account this 10+ rule and apply it for day and night, summer and winter. Simple but effective interventions are key in ensuring this, so that caretakers of the place do not have to put a lot of energy in keeping it an attractive place. A lively city square during summer can be turned into a parking lot during winter. At first you might think that it kills the activity on the square, but on the other hand, it also ensures that people can park their car nearby shops or a cosy café they would like to visit. The square will no longer be the central place for activity, but the surrounding facilities will Year 25, number 58 - May 2019
Sources: Beemster, W. (2018). Seasonal Urbanism: placemaking in de winter nog onderbelicht | Straatbeeld. Retrieved March 2, 2019, from https:// www.straatbeeld.nl/nieuws/311018/ seasonal-urbanism-placemaking-in-de-winter-nog-onderbelicht Benes, S. (n.d.). The Seasonal City Creating Attractive Public Space, All Year Round. - Humankind. Retrieved February 27, 2019, from https:// www.humankind.city/2018/12/theseasonal-city-creating-attractive-public-space-all-year-round/ frida & frank. (2017). Cure(eos)city : exploring placemaking through seasonal effective design | Wayblaze. Retrieved March 2, 2019, from https:// www.wayblaze.com/fundable_projects/cureeoscity/ Project for Public Spaces. (n.d.). The Power of 10+. Retrieved March 2, 2019, from https://www.pps.org/article/the-power-of-10 Reliance Foundry. (2018). Seasonal Placemaking Projects | Bollards & Post Covers Blog. Retrieved March 1, 2019, from https://www. reliance-foundry.com/blog/seasonal-placemaking-projects
be more accessible, attracting visitors with the accompanying vigour. Nights on the other hand have to be approached in a different way and have their very own challenges. Actually, our very own GLOW-event makes smart use of the dark winter nights, attracting people to go outside and enjoy light spectacles. Light in general is one of the primary ways to make nighttime more attractive. Around the globe cities and designers are experimenting with lights and its influence, creating new, fascinating designs and approaches.
Pictures: Left: Children playing in fountain Clacton by Martin Pettitt. Retrieved from https://www.flickr.com/photos/ mdpettitt/2484428236/in/photostream/ Right: Ice skating on the canals of Amsterdam by Robert Esser Retrieved from https://unsplash.com/ photos/0qbUHzgxwBU
Overall, the different times of the year can be a primary starting point for a policy or design. The influence of the seasons can make or break a place, and neglecting it is not really an option. A smart and original way of using it can transform a regular urban space into a sprawling and attractive hub, all year round. Maarten Kamp
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AFTER THE FLAM It’s 776 B.C., the year of the first official Olympic games, hosted by Olympia, Greece. Citizens from every corner of the Ancient Greek world are coming together to initiate a tradition that will stand for centuries. Before the games begin, messengers are sent out to announce a ‘sacred truce’ so that the citizens can travel safely to Olympia. Instead of participating to win bronze, silver or gold; participants contest for victory, heroic status, sanctity received from the gods, and olive oil.
Spatial Charisma
Temporary events like the Olympic games are organized in the existing urban tissue of the hosting city. The city undergoes adjustments and transformations – economically, socially and physically – in order to accommodate the event. Despite the temporariness of the Olympics, its impact is everlasting. Over the years, due to improved transportation and the reach of media, the Olympic games have become accessible all over the world. This extreme magnitude has made the Olympics more than just the greatest sports event – they are a tool for economic development, cultural integration, and social regeneration. The Games have evolved over time and the impacts are reaching far beyond their lifespan of four weeks. Unfortunately, due to a scarcity of post-Olympic use, the venues and villages are often doomed to become ghost towns.
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One example of an abandoned postOlympic town is in PyeongChang, South Korea. For sixteen glorious days, the world’s eyes were upon the country. Hundreds of thousands Olympic tourists poured into the hosting city. An approximate amount of 13 billion dollars was pumped into organizing the event as the ‘Olympic fever’ spread like wildfire. For South Korea, the Games began as an economic success. PyeongChang is one of the poorest counties in South Korea and the Games were meant to turn the region into a booming, touristic town. Now, more than a year later, the optimistic anticipation was nothing more than unrealized potential. PyeongChang found itself in huge costs and a legal battle between the county and national government over who should
ME pay for maintenance. Eventually, Korea had no other choice but to tear down the PyeongChang’s Olympic stadium after only four post-Olympic uses. While in preparation for the construction of the Olympic facilities, the Korean government chose to clear an old growth rare-wood forest. Now that many Olympic buildings have been demolished, an empty land is left as the lasting legacy of the Winter Olympics in PyeongChang. Forests cut down, investments made, inhabitants replaced, yet no economic or social gain. Unfortunately, PyeongChang is not the only case of a city suffering from postOlympic challenges. The history of past host cities was not promising, very few of them experienced a successful tourism bump after the Games. So, in many Olympic cases, the venues and Olympic villages are built with the conventional mentality of permanency. With the thought of building something permanently useful, the investments and sacrifices are high. However, since reusing the Olympic buildings is often a failed attempt, the actual use of the buildings is merely during the games and thus temporary. Is this one of the many indications that we need to rethink the way we do the Olympics? Perhaps the way we build in general? Cities are collections of all sorts of complexity, on top of that there is constant change and growth. Our urban mechanisms are happening in a societal, technological and economical context that is uncertain and unpredictable to an extent we cannot control directly. In this status quo, urban interventions must seek for a resilient and flexible method to respond to the emerging needs of city dwellers, new land uses and new space availabilities. In the past few years, a broad range of initiatives have been taken in order to optimize the economy of vacant properties. One of these initiatives is the concept of temporary urbanism and architecture. Temporariness has many societal and commercial benefits, including place-making and resilience.
use is an approach wherein permanent buildings or urban spaces in the city are given a temporary function during periods of vacancy. Temporary use in urbanism originated in site occupancy without land title. Stakeholders would freely take advantage of these vacant sites and propose off-market responses to local needs. Secondly, there is ‘temporary construction’ where the approach of building is to leave no traces after the building is used for a certain period of time. This gives a lot of flexibility to how the land is used and has a potential to have a relatively small investment with a small ecological footprint, making it a resilient and future-proof approach to co-build cities. Temporary construction is also a method to build buildings that can accomodate different functions over the years. For example, a parking garage that can easily be transformed into a apartment block. In this way buildings can add value to the city for a longer period of time, because their construction is so flexible for many kinds of uses. The buildings can be given a function based on the needs of the city and the market.
Sources: Ancient games. Retrieved from https:// www.olympic.org/olympic-games Ruoppila, S. (2012, January). Temporary uses as means of experimental urban planning. Retrieved from https:// w w w. r e s e a r c h g a t e . n e t / publication/275259733_Temporary_ uses_as_means_of_experimental_ urban_planning The games by Penn Museum. Retrieved from https://www. penn.museum/sites/olympics/ olympicorigins.shtml Pictures: From top to down Abandoned Alps Ski. Retrieved from https://www.independent. co.uk/travel/news-and-advice/ winter-olympics-2018-pyeongchangwarning-south-korea-ski-resortabandoned-pictures-a8168451.html The Alps Ski Resort attracted tens of thousands of skiers every year until it abruptly shut its doors in 2006. Retrieved from https://www. straitstimes.com/asia/east-asia/failedski-resort-looms-over-legacy-ofpyeongchang-olympic-games Costly Pyeongchang Olympic venues could eventually be razed. Retrieved from http://www.espn.com/ olympics/story/_/id/24738215/costlypyeongchang- olympics-venueseventually-razed Abandoned Olympic venues. Retrieved from https://www.cbsnews. com/pictures/olympic-venues-thatwere-abandoned/
In the case of PyeongChang, the buildings for the Olympic games were a permanent construction. This construction in return would accommodate several post-games uses, both temporary and permanent uses. However in the end, the buildings that were meant to be a permanent construction for long term usage, were demolished soon after the Olympic games. In contrast to temporary constructions, permanent constructions have large investments and a relatively big ecological footprint. Therefore, taking down a permanent construction after a short period of usage, a lot of input goes to waste. So, we should be more prepared for what happens after the Olympic flame is put out. Bethel Lemma
In the concept of temporariness, there are two categories: Temporary use and Temporary construction. Temporary Year 25, number 58 - May 2019
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WORLD OF WONDERS: EFTELING BEHIND THE SCENES
Spatial Charisma
Every Dutch person goes to the Efteling at least three times in their life: once as a child, once as a parent and once as a grandparent. Over the years, the theme park has gained remarkably loyal visitors. Since the opening in 1952, it has evolved from a nature park with a playground and a fairytale themed forest designed by Anton Pieck into a full-sized theme park, offering amusements rides with nostalgic and fairy-like themes for young and old.
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Annually, the park has more than 5 million visitors. What is the secret behind this major success? As designers we wonder to which extent the popularity of the Efteling can be owed to its public space design and architecture. We had an interview with Gert van den Hoven from Van Aken architects, a firm that has worked and designed with the Efteling frequently, to find out exactly that. Gert talked to us about a variety of projects that were made in close collaboration between the Efteling design team and Van Aken which started in 2006.
Collaboration with Van Aken In these collaborations, the Efteling design team decides on a certain vision and atmosphere with which they tell their story. Van Aken’s role in this process is to support the vision by engineering it into something tangible, after which Efteling in certain cases also adds a fantasylike exterior or facade to tell a certain story. Often, the choice of material by Van Aken already gives enough of the ambience that the Efteling aims for. In that case they do not add anything else. “This is the result of great teamwork and communication of what kind of atmosphere is desired. It is favorable for both parties when the atmosphere is already right with a simple design, so it doesn’t necessarily have to be touched up with expensive materials.” Gert explains. When the Efteling design team has an idea for a new attraction, they decide on a certain story and atmosphere, as well as the capacity of the attraction and the target group. For what ages is it meant? How many visitors can visit the attraction in one hour? What does the area of the queue offer to the visitors? Many
Efteling attractions start their storytelling in the areas leading up the attraction, making the waiting time feel a lot shorter. When you enter the theme park, one of the first things you encounter is the Symbolica castle and Polles Keuken. This pancake restaurant invites you with the mouthwatering scents of fresh pancakes. It has a beautiful copper roof along with other natural and organic elements. “The materials speak to you, it is not fake” says Gert. Inside of the restaurant there is a steam engine, and the whole restaurant is moving with noise. The atmosphere is very magical and inviting. One of Efteling’s major attractors is the Raveleijn, a building where various functions come together. The building serves as headquarters for office staff and the management of Efteling and it also serves as a multifunctional complex with, amongst others, a theatre, conference hall and restaurant. It feels like a real palace when you enter. The arena theatre holds a big spectacle, a play where five knights save the people of Raveleijn from a tyrant, five times a day. Visitors can enjoy a rustique dinner at the Raveleijn restaurant. In pursuit of increasing the number of visitors, Efteling needs space for hospitality and accommodation for visitors who like to enjoy the park for more than one day. An example of this is Bosrijk, a village which offers luxurious houses and apartments where visitors can relax in the woods, at the edge of a lake or on a quaint village square. Bosrijk has its own atmosphere and story created by the Efteling, which Van Aken then made the layout and design for. For these accommodation plots, the history and the original landscape and natural elements of the area are very important. Or you can stay at the Loonsche Land, another result of collaboration between Van Aken and the Efteling. Here, you look out over the treetops and the houses that are covered with dune sand and heather. This village offers simple, cosy holiday houses and hotel rooms made from natural materials. Happiness and nostalgia “The Efteling team are champions in what they do”, Gert states. “They have their own recipe for creating the feeling of happiness for every visitor. It’s clean and Year 25, number 58 - May 2019
tidy and the employees are very friendly. They know how to make you feel like a guest”. Hospitality is of major importance for the theme park. Every year they want to expand and give you a new attraction. When something new is being built, they already think about what is next. The consistent growth makes you curious about what is next and want to visit again, not just for the new attraction, but also the attractions and the atmosphere that you fell in love with. One of many examples of this are the mushroom shaped speakers that play fairytale-like music throughout the park. Every person who has been to the Efteling has a picture with one of these mushrooms. When you enter the park, you see the red music mushrooms, everyone has a picture here and anyone who has been to the Efteling could hum you the melodies coming from these red and white dotted mushrooms. The Efteling deals with this nostalgia in a very careful way. When they restored the Python, the first roller coaster they ever built, they renovated it in a way that it remained exactly the same. This shows how strongly the park and its visitors are attached to the history.
Sources: Holiday Village Efteling Bosrijk (n.d.) Retrieved on 1 March 2019, from https://www.efteling.com/en/bosrijk Holiday Village Efteling Loonsche Land (n.d.) Retrieved on 1 March 2019, from https://www.efteling.com/en/ loonsche-land Photo: New Efteling attraction Symbolica open as of 1 July 2017 (2017, 3 April) Retrieved on 1 March 2019, from https://www.efteling.com/en/press/ new-efteling-attraction-symbolicaopen-as-of-1-july-2017/
The future The Efteling wants to expand the number of visitors to 7 million visitors per year. It has been confirmed by municipality of Kaatsheuvel that it is possible. There is some objection from residents who live in the villages nearby who anticipate traffic congestion, but it is nothing that cannot be prevented with new access roads and improved public transport. There are already many internationals visiting the park, but the Efteling is trying to spark more interest of internationals, especially from Germany. Accommodation needs are a major point of attention here. In the future, they want to create a big leisure and accommodation campus, making a stronger connection with Safari Park Beekse Bergen in Hilvarenbeek. But bigger in size or not, the Efteling will always hold a special place in the hearts of their visitors, from the adrenaline rushing roller coasters to the mysterious and mythical attractions and cosy accommodation, every visit is a magical experience! Sarah Al Kaissi and Peyvand Taremi
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Master project
THE CLIMATE RESILIENT CITY Climate change is becoming more and more prominent in everyday life. We can all remember the extreme heatwave of last summer, and the resulting drought; or the extremely high tide in Venice this past October, which affected nearly three-quarters of the city, in the worst flood of the past decade. Extremes in weather are going to become more frequent in the upcoming years. In light of this, the need to improve the city’s water systems is becoming increasingly urgent. The master project ‘The Climate Resilient City’ centred around this topic. The aim here was to see urban water not as a ‘problem’, but rather as an opportunity to make a meaningful contribution to the spatial quality and liveability of the city. In this second edition, the project focused on a large piece of land (200 hectares) to the northeast of Eindhoven Airport; an area enclosed by the A2/A58 to the east and north, and the Beatrixkanaal to the west. The area is currently under development to become the Brainport Industries Campus (BIC). A campus that not only aspires to become a leading hub of high-tech manufacturing, where suppliers innovate and produce together, but also wants to function as one of the largest parks in the Brainport region; a campus that actively attracts visitors and showcases its many innovations. From the analysis of the current master plan the largest critique was that it could be interpreted as merely the result of subtracting all the restrictions present in the area; like the fly-zone of Eindhoven Airport (nobuilt zone), fragmented pieces of protected ecological areas, and a stream: the Ekkersrijt. It also showed that the current plan does not use the opportunities the area has to offer to its fullest potential; whether on the
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subject of connecting to existing infrastructural arteries – like the Slowlane along the channel, a bicycle lane that connects all technical campuses in Eindhoven – or connecting the fragmented nature in the area; or attracting people to visit the campus. The master plan described in this article aims to take full advantage of the site, and see opportunities rather than restrictions. The best application of this can be found in moving the Ekkersrijt to coincide with the fly-zone of Eindhoven Airport. This opened up a large area for buildings next to the channel; while simultaneously creating an efficient connection between the buildings of BIC – and the other technical campuses in Eindhoven – through the Slowlane. At the same time, this shift allows for the creation of two very different types of areas: a busy channel zone which can harbour lots of facilities, like cafés and sport areas; and a quieter, continues north-south ecological side to the east along the Ekkersrijt for hikers. The buildings connect these two areas. The municipality of Eindhoven, Water Board de Dommel, and several partners have developed guidelines for designing climate resilient (urban) plans, which include regulations regarding shade, cool spots, and rainwater. These regulations state that all new plans need to be able to store – on site – at least the storm of once in a hundred years (t=100, 60 mm/h), and subsequently slowly drain this water to natural streams or infiltrate it in situ. Finding space to store the vast amount of rainwater that would fall on the surface of the roofs (a total of almost 650.000 m2) was not going to be a problem for BIC: there is enough space to store the T=1000 storm. This realisation shifted the focus to
T=0,1-1
maximising the water system’s contribution to the experience of the campus. At first this meant strengthening the stream valley of the Ekkersrijt with marshy textures for the region’s protected fauna, however, the opportunity was soon seized to also use the system as a showcase for climate change; making visitors aware of its effects. Especially this last goal had significant effect on the water system’s design, because you want visitors to experience it throughout the year, and not just once every hundred years. To accomplish this, the rain on the roofs is directly transported along the exterior, using cascades with water spouts, which makes the water’s journey visible with even the lightest of storms. This system has the added advantage of keeping the roof light, and thus cheap. In the stream valley, a broad strip of rocks breaks the water falling from the cascades. It subsequently runs into the water storage, which is divided into three levels – along with the inundation area of the Ekkersrijt – corresponding to a certain storm intensity. The system as explained here, creates an ever-changing appearance throughout the year, in the architecture and landscape of the campus.
the cascades and water storage overflow completely. This will hopefully create more awareness, but it will also, perhaps just as important, become one of the main reasons for people to visit the Brainport Industries Campus.
T=1-50
T=51-1000
Sources: Visser, N. (2018, October 29). Venice Hit With Worst Flooding In A Decade As Tourists Wade Through Landmarks. Retrieved March 1, 2019, from Huffington Post: https://www. huffingtonpost.com/entry/venice-italy-flooding_us_5bd79e21e4b0dee6eecd163a?guccounter=1
Patrick Limpens Project in collaboration with Martijn Hottenhuis
National Academies of Sciences, Engineering, and Medicine. 2016. Attribution of Extreme Weather Events in the Context of Climate Change. Washington, DC: The National Academies Press. https://doi. org/10.17226/21852. Pictures: Left: Impression of cascade system. Right (left) Proposed master plan; (right) water system with the water storage and inundation of the Ekkersrijt divided into three levels (section and plan).
It will sometimes be subtle; a bit of water drizzling through the spouts; but can sometimes also, quite literally, confront visitors; when certain paths flood or when Year 25, number 58 - May 2019
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Graduation project
INTERMEDIATE SPACE ≠EMPTY SPACE A transformation of a space ruled by infrastructure to a space of its own, serving the city of Rotterdam. Large-scale infrastructures are a natural part of every modern city. Rivers, train tracks and wide roads run through the urban fabric, and along these infrastructures, intermediate spaces can be found. These spaces seem to be green spaces devoid of function and buildings. Existing in the middle of a city, intermediate spaces have the potential to contribute to this city. The past year, I researched intermediate spaces between infrastructure and the architecture in the city of Rotterdam, in order to transform one of these spaces into a space of its own, serving the city. Since intermediate spaces are hardly mapped and have an intricate character invisible from above, I researched them by experiencing them. By walking through the spaces and documenting and analyzing these walks, the spaces could be characterized. It was found that intermediate spaces cannot be explained as a set of characteristics, because each of these spaces is very unique. However, the existence of dividing elements – separating infrastructure and the architecture of the city – is prominent in each of these spaces. The dividing elements can take many forms, with horizontal space as one of the most common dividers. This abundance of horizontal space for separation can be found in the area I researched as well: the Triangle of Spangen. It is located to the west of the neighborhood Spangen in Rotterdam, existing between two neighborhoods and two business areas. The Triangle of Spangen is bordered by no less than five different large-scale infrastructures. Each of these infrastructures
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claims horizontal space for separation, causing the area to for the most part become an apparently empty, green space, disconnected from its surroundings. The existing functions in the Triangle of Spangen are oriented at the road that runs through the middle. This road is disproportionally wide, and causes a break in the otherwise clearly triangular space. The existing functions can be classified as supporting functions, with among others several soccer fields, an elementary school and a swimming pool. Unfortunately these functions are in the current situation separated from each other by a wide road, fences and green borders, causing both physical and visual disconnection between them. Concluding the analyses of intermediate spaces in general and the Triangle of Spangen specifically, it has been found that intermediate spaces contain strong dividing elements, disconnecting these spaces from its surroundings and from the rest of the city. This can clearly be seen in this area, where the abundance of infrastructures cause the space to be disconnected from the rest of the city, and internal functions to be disconnected from each other. Because of this the space cannot be experienced as a whole, and the existing supporting functions within cannot function properly. On the upside, the Triangle of Spangen is a green and relatively unbuilt space in the middle of Rotterdam. It is a fact that these kind of green spaces are of much value to a city, since park-like spaces combat the effects of climate change, increase both physical and mental health of citizens, increase social cohesion and increase the value of neighboring real estate. Because of this,
and the intricate character and charm of intermediate space, my vision is to keep the Triangle of Spangen a green, relatively unbuilt space with a supporting function, while increasing connectivity and visibility. This has been realized by a new design for the space, in which barriers have been deleted, new connections have been created, and existing functions have been replaced as pavilion-like buildings in a park. The biggest changes to the space are the relocation of one of the large-scale roads going through the space, and the deletion of another. This causes the space to be less divided, increasing internal connectivity and making it a clearer park as a whole. To increase connectivity, a new spine of streets has been created by extending the directions of important streets in the neighborhood. These streets fall over each other in the Triangle of Spangen resembling a ‘mikado’, creating the new internal structure. This structure is strengthened by extending and connecting existing singels. This water also creates a new world within the park, creating more diversity and a more park-like appearance. To build further onto the supporting nature of the intermediate space, functions such as an elementary school, a day nursery, a swimming pool and a petting zoo have been relocated with better physical and visual relations between them. Additionally, a lunchroom has been added to the existing functions, allowing visitors of the park to stay for longer periods of time.
the calm park. In the park itself and next to the smaller paths, benches and picnic tables are placed. These share the same appearance throughout the space, adding to users experiencing the space as a whole. The street furniture matches that of the public space of Rotterdam. The green design can be divided into four parts: avenue trees bordering the space and its streets, green clusters made of native trees and plants, individual trees as points of attention and special green next to the singels. All in all, the Triangle of Spangen can be seen as a representative example of an intermediate space in the city of Rotterdam. By designing from the bottom up, using the existing experience of the space as a starting point, the intricate character of the intermediate space could be preserved and strengthened. By strengthening the positive points of this space – the green, unbuilt and serving character – and getting rid of the negative points – the internal barriers causing a lack of both internal and external connections – the space is now able to fully function as a space serving its surrounding neighborhoods and the city of Rotterdam. Veerle Roijackers
The buildings are similarly materialized in a red-brown brick with red accents. The more public a function is, the more open the façade is to the surroundings. The connecting streets are made of cobblestone with pavement and trees on both sides. The material slows down the occasional car passing through, strengthening Year 25, number 58 - May 2019
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TOKYO’S 2020 OLYMPICS: ATTRACTING TOURISTS AND COLUMN NEW ECONOMIC DEVELOPMENT Large sporting events, such as the Olympic Games, constitute temporary tourist attractions but also opportunities for large scale urban restructuring in the host cities. In recent years, and given the exorbitant bill that Olympic Games usually impose on their host cities (e.g. Montreal is still paying for Olympic Games installations from 1976), a significant emphasis has been put on the durability and impact of Olympic Games related urban interventions. In 2020, Tokyo will be hosting its second Summer Olympic Games, and the city has staked a lot of its future economic development on the success of this event. But more interestingly for the purpose of this short intervention, are the efforts Tokyo is putting into urban (re) development and rebranding, particularly through the integration of new technologies and sustainable development practices, that are meant to attract much more than just tourists for Olympic events. Tokyo’s Olympic bid goes hand in hand with the city’s urban development vision for 2020. Under the slogan ‘Discover Tomorrow’ the Olympics related (re) development features two distinct areas of the city, each showcasing different sets of sustainable technologies and building practices. The ‘Heritage Area’ focuses on the reuse of Olympic venues that were used in the 1964 Tokyo Olympics, and the upgrading of these facilities with features that promote energy efficiency and incorporate passive design. The reuse of Olympic venues was a key element of Tokyo’s bid for the games, supporting their claim for sustainability, as well as a lower budget. The ‘Tokyo Bay Zone,’ meanwhile, will feature a complete new development of 22 Olympic venues, built with eco-friendly technologies such as seawater heat pumps and hydrogen fueling stations, and a state- of-the-art athletes’ village, meant to become an urban residential ‘smart city pioneer model.’ Contrary to what we might think, Tokyo’s efforts in delivering a unique Olympic experience does not hinge on new architectural attractions, or innovative urban design. Instead, the focus of the city is on a veritable technological revolution that will make the city the leading tech metropolis of the world. Thus, the plans that accompany the games stipulate that 900.000 Kw will be generated from renewable resources during the games, including solar panels on 300.000 houses. A 88
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hectare urban forest will be planted on reclaimed land in the Tokyo bay to increase air quality and reduce heat stress during the games and after. New transportation infrastructure will be built, including the maglev bullet train (the newest iteration of the Japanese bullet trains originally launched during the 1964 Olympics). The relationship between these ambitious plans and the unrealistic expectations of nationalist politicians currently governing Japan are obvious. The plans for the Tokyo Olympics are meant to be nothing more than a complete kick-start of the economy, a way to get Japan on the ‘right path’ to growth by attracting international companies and investments to Tokyo and later on through a ‘trickle down’ effect to the other parts of Japan. But Japan today is an aging and low fertility society, with its population decreasing from census to census. Productivity is expected to decline in the next 10 years as the ratio between the active and inactive population will become more unbalanced. Strict immigration policies prevent foreigners from settling in large numbers to counter native population decline. Meanwhile, the country and its leaders increasingly count on a technological fix to all problems, and bank on Japan’s technological prowess and a good dose of nationalist pride to overcome opposition to redevelopment plans that seem to be taken from a1950s urban planning playbook. Oana Druta Assistant Professor Urbanism and Urban Architecture
Sponsors VIA Urbanism
Partners VIA Urbanism NHTV Breda Palmbout Urban Landscapes