graduation projects 2008-2009

127

Amsterdam Academy of ArchitectureArchitecture Urbanism Landscape Architecture

graduationprojects

128Contents

Foreword, Aart Oxenaar 3

Never Waste a Good Crisis, Floris Alkemade 5

Architecture

In your own hands, Machiel Spaan 11

Thermen Westpoort: Relaxing in an Industrial Landscape, Jeroen Atteveld 14

Campimpriale en Maroc, Wilko de Haan 20

Temporary Stay on Neeltje Jans, Wouter de Haas 24

SCHOOL+, Bruce Kee 30

Urban Choreography: Performative Fragment for La Paz City , Stephanie Lama 34

AGROkoppel: Design for a Self-Sufficient Agrarian Company, Johan Rooijackers 40

Research Centre for Nanotechnology on the High Tech Campus Eindhoven, Carlos Saldarriaga 46

Ode to the Polder, Dirk Schlebusch 50

A National Asylum and Rehabilitation Centre for Victims of Slavery, Svetlana Tsygankova 54

Breeding Ground for Scientific Research, Jochem Verbeek 58

Knowledge Fabric: New Library for the Humanities Department at UvA, Sander Versluis 62

Urbanism

Working on the city Urban Renaissance, Rogier van den Berg 69

NL 2100, Ren Blom 72

The Hidden City, Marijke Bruinsma 76

Urban Remix, Sander Dekker 80

Beyond the Jaarbeurs, Wicher Gielstra 84

Belief in the Street, Arjan Jager 88

Dynamic Living in a Changing Landscape, Eline Keus 92

Merwede Canal Anchored in Utrecht, Monique Lankester-Zoer 96

Deventer Gateway, Jasper Pijls 100

The Industrious Islands, Frank de Volder 104

Landscape Architecture

Its up to you! , Nol van Dooren 111

Even More Coast, Niels Hofstra 114

Jury report on Archiprix 2010 nominations, Aart Oxenaar 119

Academy of Architecture

Master of Architecture Urbanism Landscape Architecture 123

AA-katern#01-sander03-schutbladen.indd 2 14-04-1015 15:03

21 graduation projects20082009

Amsterdam Academy of ArchitectureArchitectura & Natura

Research Reflections Projects 02

2Foreword

3Aart OxenaarDirector Amsterdam Academy of Architecture

With this graduation work the Amsterdam Academy of Architecture presents the results of the first major crisis in the lives of a young generation of architects, urban designers and landscape architects.

The personal fascinations of students form the basis for the graduation work at the Academy of Architecture. Students write their own programme, choose their own mentor and commission members, and guide their design work largely on their own. This means that graduating is a process in which students have to discover themselves, as professionals, through research and criticism. And that can be an unnerving experience. Discussions with the mentors and commission members can lead to the realisation that what students propose is understood very differently by others; and continuing research can make students aware that what they plan and design doesnt represent what they originally intended.

With this strongly individual graduation process, the academy aims to convince students that architecture, urbanism and landscape architecture cannot be practised without reflection, without personal choices as regards content. With each project the student chooses an independent position within the discipline for the first time. As a consequence, graduation forms a turning point, a crisis, in the lives of students. They cease being students and realise they are becoming independent designers. And that, if all goes to plan, marks the first in a series of continual changes of direction and turning points, of professional and personal crises that shape the careers of designers. To continue to produce relevant work, they will have to rediscover themselves again and again.

Viewed in that perspective, the deep economic crisis in which this new generation must find its position amounts to no more than an incident. An incident of significance for the context in which young professionals will practise their occupation. But a modest event in relation to the dramatic discoveries that each student, if all has gone well, will have made with his or her graduation work and the far-reaching personal development that they undergo as the final step in mastering the discipline. It is, in the end, about the power of ones own fascinations and the ability to make these relevant for the assignments of our time. That, with a love of the profession, is what ultimately determines the success of the work.

4Never waste a good crisis*

* US Secretary of State Hillary Clinton during a speech to the European Parliament on 6 March 2009.

5Introduction

This years crop of students has been an interesting one. They started their studies in an era of excess in which something like a world-wide Dubai started to emerge in architecture: extravagance as a generally accepted standard. But when the moment arrived for these students to formulate their graduation assignments, that remarkable period of roitousness had ended abruptly. An increasingly threatening change of climate combined with a serious economic crisis finished off the last little bit of belief in purely aesthetic considerations as guiding design principles. Architects were suddenly and urgently called upon to develop totally different responsibilities and principles, and that in a context in which money was once again a problem. Time, in short, for a contemporary form of crisis architecture. Detached from every form of moralism, that offers a remarkably exciting context: everything can now be different.

To survive and to lend a new legitimacy to the profession, this moment must therefore be seized on to explore new directions. Architecture and urbanism are both in need of redefinition. The urgent character of the transformation alone offers tempting opportunities for renewal architecture inevitably reduced to its essence, void of sentimentality and superfluousness.Architecture firms, however, appear to be struggling in these rapidly changing conditions. Work is in short supply, staff are let go, offices are going bust. The tragic paradox is that commerce can offer the fewest opportunities for researching and implementing fundamental innovations at precisely the moment they are most needed.

Students are not unaffected by these limitations, and perhaps for that reason alone they are traditionally the group most capable of initiating renewal. So the question therefore arises whether the graduation work of this crop of students reveals developments that draw the contours of a new reality. The evolution of a crisis can even be read in the development of the height of a skirt seam. In the same way, is it possible to imagine we can distill an impression of the future and the crisis from the graduation projects?

We can look at this collection of graduation schemes from that perspective. This time not assessing them on the basis of the usual criteria but, rather, measuring the extent to which this generation of students finds ways to deploy its characteristic lack of experience as a quality with which to explore new directions.On the basis of this system of classification we can broadly distinguish three groups in the twenty-one graduation projects presented this year.

Floris Alkemadevisiting critic

6We can call the defining characteristic of one group serving the city. The efforts within this group are primarily aimed at a careful and craftsmanlike restoration of the traditional form of the city. Irregularities in the city are erased, and urban coherence is aspired to or even enforced. The perimeter block is the perfect basic element. Nor is there any mercy for the idealist experiments of an earlier generation. The car-free centre of Zoetermeer, for instance, is no longer viewed as a possible solution but as a problem to be solved. A problem that, notably, is solved by introducing a traffic street that does not try to distinguish itself from every other traffic street in every other city. What is striking about this group is the lack of any urge to fundamentally renew urban design or even the city. Experimentation is systematically avoided; the city evoked does not differ substantially from the nineteenth-century city. Perhaps the great attention given in these projects to the collective use of public space points to a tentative form of idealism.

A second group appears to have retained an undiminished belief in the healing and guiding power of architecture and urbanism. A society that can be shaped thanks to architectural design specifically tailored to that end. One direction within this group focuses on ingenious technical solutions. Clever structures provide new answers to old questions. Even so, the question of whether the assumed rationality of the technical solutions offered has lessened the importance of the architects longing to play with forms remains as large as ever.Another direction within this group examines what we can most accurately term social engineering. The architect knows what is good for people and society and his architecture aims not only to provide the right setting for the desired social interaction but also, and inherently, to exclude undesirable interaction. Big, idealistic gestures are made to accommodate outcasts or introduce a sense of cosiness in neighbourhoods. No anonymity in the city but a continuous village square with neighbours forced to care. Though perhaps naive, the interesting thing about this group is that we can detect an underlying idealism in the schemes. The essential question here is whether our era now needs or can even use such a paternalistic form of architecture. Here, too, answers seem to be offered to questions that are not the subject of discussion.

The third and final group is perhaps the most characteristic of our time and can be classified as escapism. These are

Introduction

7the increasingly popular leisure projects so loved in the world of developers and graduates. Aimed at entertainment and occasionally reflection, these projects literally turn their backs on a world that has become too problematic and search for an unspoilt context. The empty polder and the view of the centuries-old and unchanging sea present themselves. The trek to the sea in particular is striking. The expected rise in sea levels is apparently no reason to run in the other direction but rather, seems to arouse a Freudian flight forward. One project even looks beyond the disaster and focuses on making the most of the new situation when a large part of the Netherlands is inundated. The body of water is no problematic issue but a liberation from current limitations. At last access in the Netherlands can be organised with a rational grid. Other schemes focus without too much ceremony on the sea, which offers the pleasure of uncomplicated views. Splendidly detailed beach pavilions in the dunes or in the form of hedonist gathering places for young people on the coast of Morocco in the spirit of ClubMed. Rainwater is collected on the roof, it must be said. Hedonism with a tinge of sustainability how poignant an image of our times.Among this group there are two projects that feature an original form of opportunism. The last project deploys a sustainable low-tech principle of timber piles to reclaim land from the sea. In the process, a dynamically extending dune landscape becomes temporarily inhabitable. The second project exploits the unexpected aesthetic qualities of a waste-burning facility and makes use of it as a backdrop for a genuinely parasitic form of body and bathing culture. The two projects probably sketch the first contours of a new and appealing form of enforced pragmatism: reinterpreting problematic conditions as an attractive breeding ground for new applications.

To summarise, three tendencies are discernible in these graduation projects: serving the traditional city; romantic idealism, and escapism aimed at entertainment. Despite the fact that the projects have mostly been elaborated with care and intelligence, there emerges an image of the architecture world as a cartoon figure who continues to run as hes momentarily suspended above a deep chasm because it hasnt yet dawned on him that the ground beneath his feet is gone. Its more likely well be faced with much more fundamental revolutions than those that surface in these graduation projects. For architecture thats a position of luxury, because such changes only very rarely allow themselves to be enforced on us. Time now for a new generation of students who lay claim to the world with even less respect for existing conditions and even more arrogance. Now all can change; never waste a good crisis.

Introduction

9Architecture

10

In your own hands

11

The Amsterdam Academy of Architecture educates architects and the ultimate test is the graduation project in wich it isnt just knowledge and learning that are assessed but also the originality of the designer. Fostering this originality is very deliberately anchored in the academy teaching programme.

During their education students are given the freedom to choose their assignments and develop their opinions. They are continually questioned about their personal positions in relation to the discipline. That personal quest of the student demands a critical examination of design projects and the process within which those projects were created. This reflection on the design process and consideration of the wider scope as well as the essential details of the project makes the student aware of his design strengths and the possibility of adjusting them. That enables the student to define his personal position concerning the relevance of the discipline in the current social context and he can develop his signature in terms of process, craft and imagination to the full. All this demands a constant dialogue between the designer and himself, the design, and the surroundings.

For the final challenge, the student defines a graduation proposal in consultation with the academy. The assignment covers a subject and the context in which this subject can acquire meaning and identity. This context consists of a number of carefully composed elements such as location, programme and social anchoring, as well as a description of the design themes that the student wants to address, and the composition of the supervision panel.

The personal attitude, way of working and character of the designer is particularly evident in the design themes. An individual attitude to the assignment and the chosen themes is essential in that respect. This is sharpened further in conversations with fellow students, staff, tutors and mentor.

Every graduation year reveals a huge diversity of design themes, personal motives and desires. Every assignment is a journey of discovery and a quest for social and professional relevance; a search for structure on the basis of technology and repetition; a search for logistical truths; a search for the most suitable type.

The aim of the graduation project is to express a design using architectural means. Students are encouraged to develop instruments for traditional research into context, form and

Machiel Spaan head of Architecture Department

12In your own hands

materials. The student himself must learn to think, question, look, research and test. Personal experience can lead to new notational research and design methods. The search for personal opinions, the translation of principles to all scales of design, and the development of a design stance are key issues. The most important role of the tutor and the academy is to provoke and stimulate this process.

An architect needs a personal attitude and opinion. Every designer needs an inner urge to go his own way, irrespective of fleeting fashion. A graduation project is therefore only successful if the student has learnt to question his own design constantly and explore the limits in the process. A successful design stems from a critical attitude and an individual way of working. The graduation projects of the latest generation of architects in this section show that such an approach is of the utmost importance. It is these young designers who question the world around them and, in their projects, formulate an answer that transcends the everyday. In that, the personal signature of the designer has an expressive, a substantive, a social, and an observational role.

14Architecture

The Waste Energy Company (AEB) is located in the port of Amsterdam. AEB incinerates household waste. The energy created supplies 16,000 homes in Amsterdam West with warm water and all public buildings in Amsterdam with power. But the important role played by AEB in converting waste into energy is unknown to most Amsterdammers. The addition of Thermen Westpoort to the AEB enriches the port of Amsterdam with a public function and allows people to learn about the world of waste in a relaxed manner. Thermen Westpoort could be the first Dutch bathhouse powered with energy through the burning of waste. Carbon-neutral bathing a stones throw from Amsterdam!

Linking two totally unrelated building typologies, a waste-incineration facility and a bathing house, creates unexpected possibilities and encounters that can benefit both AEB and Thermen Westpoort. Countless are the impressions as you walk through AEB: the hissing and humming of engines, the scorching heat of

Jeroen Atteveld

Graduation date11 12 2008

Commission membersRob Hootsmans (mentor)Rien KorteknieJoost van Hezewijk

Additional members for the examinationJan-Richard KikkertMarritte Adriaanssen

Nominated for Archiprix

the ovens, and the wonderful view of the port. By orchestrating this excess of impressions and attuning them to the different programme elements of the bathhouse, one can enhance the experience of a visit to Thermen Westpoort.

The programme of the bathhouse consists of baths, treatment rooms, saunas and a restaurant. The spaces of the different programme elements are introverted in character where bathhouse visitors require calm to relax, in the treatment rooms for example. Then there are spaces where bathhouse visitors feel they are very much in the industrial environment of the waste-burning process.

Thermen Westpoort is incorporated ingeniously in the AEB building and uses the energy generated, the surplus, the waste products, and the exceptional industrial surroundings. The healing effects of light, smell, sound, and texture contribute to the ultimate experience of taking a bath in Thermen Westpoort.

Thermen Westpoort: Relaxing in an Industrial Landscape

16

01

02 20 meter

Architecture

1

1

3 2

4

5

6

7

23

4

75

6

17

01Section of AEB and Thermen Westpoort1 Car park2 Treatment spaces3 Restaurant4 Sauna5 Special baths6 100-metre bath7 Roof terrace with bubble bath

02Plan of Thermen Westpoort1 Car lifts2 Reception space3 Waiting room for treatment spaces4 Treatment spaces5 100-metre bath6 Special baths7 Roof terrace with special baths

03Exploded view1 Car lifts2 Car park3 Reception space4 Treatment spaces5 estaurant6 Saunas7 100-metre bath8 Office

04Model of Thermen Westpoort(Model by Complex3D) 03

04

Jeroen Atteveld

1

23

4

5

6

7

8

18

05Interior of relaxation space in sauna

06Model

07Interior of 100-metre bath

08Exterior of 100-metre bath

06

07

05

Architecture

19Jeroen Atteveld

08

20Architecture

Camp`impriale is a design for a base camp on the coast of Morocco for outdoor-sport nomads engaged in all sorts of sports, activities and expeditions. The climate and the various landscapes and cultural highlights nearby create the perfect conditions for a memorable and active sport and travel destination.

The guests, who stay in or near the camp, want to experience outdoor life, sunshine, wind, and the surrounding landscape. They want an open building that provides the shelter and services they need.The building designed for them is an open architectural structure consisting of terraces on the sloping terrain covered by one big roof plane supported by columns.

Located in, under and on this roof plane are different places and conditions created for the different programme elements, each exposed to the desired external influences. The treatment of this service roof (a ` pimped` imperial) and the functions it facilitates create a life, tailored to enhance experience. The architecture is modest but radical, very layered and ambiguous, rich and meaningful.

North African architecture has been carefully studied. A highly contextual building has been designed through the selective introduction, development and deployment of elements that

Wilko de Haan


Commission membersJaco Woltjer (mentor)Peter DefescheMarijn Schenk

Additional members for the examination Ira KoersPaul de Vroom

enable the programme to work and create space and architectural appearance. The project shuns clich North African architecture for western tourists.

The project questions, investigates and deals with different characteristics of primitive building archetypes that refer to outdoor life, such as the monolithic structure (cave) and framework structure (hut/tent) through the design of a building for a particular service. Abstracting and questioning which parts of the building belong to which category, or to which particular part of the site (referring to theories of Gottfried Semper, Frank Duffy and Steward Brand), results in different ways to design and construct the building by taking away or adding material to create spaces that vary in the degree of enclosure.

Geological conditions and extreme climate conditions made it possible to develop a climate and installation concept for the building that makes it a self-supporting service shed. The building depends on the elements for its functioning, just as the guests are in practicing their sports. The idea of outdoor life and oneness with nature and the elements is stimulated.

The project avoids the negative consequences of tourism in terms of landscape destruction, pressure on natural resources, and scarcity of potable water.

Campimpriale en Maroc

22

01Situation

02Model

03Roof

01 02

03

Architecture

23

05

04

04A LoungeB Mixed-use spaceC ReceptionD KitchenE Sporting equipmentF WorkshopG SafesH OasisI Washing areaJ ToiletsK Bathhouse

05L Vaporisation

domeM Concrete dome

above the pitN Solar cooking

using mirror bowl

O Barbecue: coals and gridiron

P Concrete grid above garden, sports equipment storage area

Q Light dome, in hammam

R Starting frame; roof terrace: wash + dry

S Transparent hard synthetic dome; solarium in hammam above hot stone

T Surface loss for the sake of vaporisation

Wilko de Haan

L M N O P Q R S

T

A A C

B DE F G H

I J

K

24Architecture

The coast of Zeeland is characterised by the salty wind on the beach, the power of the surf that hits the islands, the shelter of the dunes, and the extensive sandbanks where birds search for food. The dynamics of the region, where nothing stays the same for a minute, are the result of a constant process of ebb and flow.

We have protected our country with an extensive Delta Plan. The crowning achievement of the plan is the Storm Flood Barrier. Theres a downside to the construction of this barrier, however, because it has altered the tidal flow in the Oosterschelde estuary. Mud flats and banks disappear owing to sand displacement beneath the water surface, leading to the loss of essential elements of the littoral zone. This erosion of landscape was exactly what this costly plan was supposed to prevent. Human intervention is needed to preserve the Neeltje Jans manmade sandbank!

Moreover, sea levels are rising and storms are gaining in frequency owing to climate change. Consequently, more dune erosion is occurring and this important nature area, which also forms a buffer for the dam on the island, is threatened. The island must be

Wouter de Haas


Commission membersChris Scheen (mentor)Bruno DoedensRien Korteknie

Additional members for the examinationPaul de VroomIra Koers


protected against this, particularly along the North Sea coast. This is possible by reducing the direct grip of the sea on the dunes.

The Delta Works have made Neeltje Jans the most popular tourist attraction of Zeeland today. In 1986 Neeltje Jans ceased being a working island, and ever since there has been scope to develop the natural environment again. The island is located in the middle of the Zeeland delta on the border between the North Sea and the Oosterschelde. The power of wind and water is what determines the different conditions on and around the island. The location offers wonderful opportunities to expand Zeelands recreational network with unique accommodation facilities geared to the experience of this distinctive landscape.

Linking recreation to the protection, maintenance and enrichment of nature areas creates new opportunities for interesting accommodation where people can increasingly escape from everyday life. Since Neeltje Jans already contains recreational functions, this location offers a splendid chance to boost Zeelands recreational network with accommodation that is in harmony with the new landscape.

Temporary Stay on Neeltje Jans

25

01Overview of interventions on and around the former working island Neeltje Jans.A Horticulture with cooking place on

the former graving docks.B Nomads on the sandbank.C Helophytes in the dune filter.D Beach sentries in the North Sea.

A BCD

01

26Architecture

02Models

03A Erosion of the sandbar as a result of

sand displacement.B Influences of the elements wind and tidal

current.C Nomads influence the elements.

04A The pier anchors a mussel bed on the

edge of the sandbar.B The rows of stakes are place

perpendicular to the predominant wind direction and catch the sand.

C At high tide the grid of the nomads remains visible.

05A 2015: new supplies are added on the

southern side.B 2016: the distribution of sand influences

the formation of barrier beaches.C 2017: the first growth covering on the

barrier beaches.

05A

04A

03A

05B

04B

03B

05C

04C

03C

02

27Wouter de Haas

06 Impression of horticulture and cooking place

06

28Architecture

07 Beach sentries in the North Sea ensure the growth of new dunes.

08A Erosion of the dunes as a result of

climate change.B Influence of the elements.C Beach sentries influence the elements.

09 A Positioning of the beach sentries on

depth lines.B Positioning of the beach sentries in a fan

formation.C The density of the beach sentries

influences the tidal current.

10A 2015: growth of young dunes.B 2025: possible formation of a tidal gully.C 2050: development of the dune area.

10A

09A

08A

10B

09B

08B

10C

09C

08C

2025

07

29

11 Impression of nomads

Wouter de Haas

11

30Architecture

More than one and a half million children attend primary school every day in the Netherlands. There they are challenged and stimulated to learn and develop their social skills. But its not just the primary school that plays a role in upbringing and education; to a large degree it is the whole society that nurtures and educates our children. And for that, more is needed than just a school building.

Education is subject to constant change, including new requirements put on the design of the learning environment all the time. A range of different learning environments is gradually replacing the traditional classroom. The underlying thought is that pupils are stimulated to work more independently in this way.

This development prompted the design of SCHOOL+. The SCHOOL+ project consists of six schools, each with its own teaching method and accompanying spatial theme. It is a community school in which the pupil is the focus and in which social participation, collaboration and talent development are particularly targeted. Whats more, the school wants to deploy these qualities for the benefit of the neighbourhood.

Bruce Kee

Graduation date 30 10 2008

Commission membersLaurens-Jan ten Kate (mentor)Jan Richard KikkertKamiel Klaasse

Additional members for the examinationIra KoersBart Bulter

The Indische Buurt in Amsterdam Zeeburg is not a child-friendly place. Narrow streets, lots of traffic and little public space means that theres not much space for children to play. SCHOOL+ is the place where pupils can live out their adventures, the place that offers them support and with which they can identify. Once they are adults they will look back on SCHOOL+ as the place of their youth.

Instead of one central community school, SCHOOL+ is a chain of six smaller schools, each with its own structure that cuts through various building blocks. A continuous green roof connects the schools to one another. Each school has its own themed space devoted to sport or drama for example. These spaces connect the schools and the park next to which they are located, and make it a small city for children with its own facilities.

The SCHOOL+THEATRE has been elaborated in detail. This school boasts a theatre as thematic space and focuses on the individual qualities of children. For this, the school is spatially designed as one continuous floor plane that features learning balconies, concentration spaces, themed stairs, lounges and more.

SCHOOL+

32

01Urban diagram of Indische Buurt with possible solutions. A One big central community school.B Small schools scattered around the neighbourhood with themed spaces.C Small schools in a chain.D Schools connected by a roof landscape.

02Complete roof plan SCHOOL+

A

B

C

D

Architecture

01 02

33

03View of roof SCHOOL+THEATRE

04Street impression SCHOOL+THEATRE

05Model SCHOOL+THEATRE

06Plan and section SCHOOL+THEATRE

Bruce Kee

03

04

05

06

34Architecture

A culture that focuses its interest on the centre may intensify its own purity, but its outlying regions are fated to decline. Let us direct our attention to the heterogeneous elements around us, the strange, suspicious and quirky, idiosyncratic things. Let us be alert to them, and cultivate a broad magnanimity.Kisho Kurokawa.

Inspired by the theory of noise, the intervention focuses on activating the surrounding dynamics to generate new urban scenarios.

The project is an ensemble of three urban programmes in the centre of La Paz city: dance centre, parking landscape and public space; this combination invigorates the creative sphere of the city by luring the inhabitant into a journey of movement and physical experience.

Each of the programmes is read as a dance that has a specific set of movements to compose the ensemble. In an analogy with the language of choreography they perform their own trajectory as they appear in the city. The building is a consequence of these three forces imploding into the plot, crossing it, and allowing the urban block to transform in time.

The human body, as the prime instrument in perceiving space, is taken as the starting point for the composition of the building and its

Stephanie Lama


Commission membersMoriko Kira (mentor)Laurens Jan ten KateChris Scheen.

Additional members for the examinationJan Richard KikkertKlaas Kingma

relation to the environment. The dramatic geographic conditions and the constantly flowing movement of the city force the inhabitant to relate to the high and low plateaus of the landscape; the rooted city and the lifted city are choreographed to coexist in symbiosis.

Dance in Bolivia is the strongest expression of popular culture and represents an excellent tool to eliminate social fear. The creation of a Dance Centre for La Paz introduced through this urban event could challenge this art to achieve greater developments and offer an energy outlet for the collective.

This strategic location, where the cultural, commercial and educational networks meet, was the inspiration for the research aimed at discovering inventions capable of dealing with the citys eclectic beauty.The composition of volumes and voids connected by delicate tensions invite the visitor to be transported in various performing moments, stimulating new ways of using the streets and reshaping the architectural image of La Paz.

Architecture is not just some theory to think with your mind, but rather something to decide with your whole body. Kikutate

Urban Choreography : Performative Fragment for La Paz City

36

01Situation

02Urban mutations

03Noise

04Intervention process

01

02

03

04

urban outletadaptationcolonial gridiron

Architecture

37

05

Stephanie Lama

06

07

05Models

06Movement diagrams

07Structural system

38

07Section

08Sky level

09Street level 2

10Street level 1

09

08

10

Architecture

39Stephanie Lama

40Architecture

Besides being one of the most densely populated countries, the Netherlands is one of the biggest players on the food market. The most significant side-effects of large-scale food production are the depletion of natural resources, the disruption of ecosystems, and the big demand on space.If we want to continue producing our own food in the future, then we must reorganise agrarian processes now. The government created a catalyst for change through the attention it has given to the preservation of landscapes of cultural and historical importance and preserving unique nature, as set down in the Belvedere policy paper and the Ecological Main Structure (EHS).

This adds to the pressure on the countryside and the agrarian sector. It also offers an opportunity for the sector to reorganise itself and, in the process, redesign the typology of buildings related to food production and their relation to the surroundings.

Changes of this nature are imminent for companies in and around the villages of Griendsveen and Helenaveen. In the redevelopment plan for the Peel the function of some 40% of the existing 3020 hectares of cultivated land will change in an effort to save what remains of valuable bogland.

My project contributes to the preservation and stimulation of peat moss and compensates for the loss of economic activities using, as a generator, a mixed

Johan Rooijackers


Commission membersChris Scheen (mentor)Yttje FeddesRob Hootsmans

Additional members for the examinationPaul de VroomHolger Gladys

business occupying a minimal area but being big enough to supply food for the villages.

The growth of peat is stagnating in the area owing to an excess of nutrient-rich water. Ideal for other plants, the water is used in food production and creates a symbiosis between economics and nature. After water is used for plants in glasshouses, for irrigation of farmland and the growth of algae, the by-product pure water is ideal for the moss.

Three main typologies the tent, the cave and the pit are accommodated in a rationally arranged cluster oriented in an east-west direction for optimal exposure to the sun. The result is an optimal exchange of amenities and space and the creation of specific climate conditions. These strips are connected on one side by spits to the water route and are open on the other side for optimal exchange with the landscape.

The structure of the building is a gradient of tree-shaped pylons. Together these are connected to one curving roof that constitutes the ancillary space for storage and service installations and the main space for use. Altering the position of the pylon in response to the incidence of light and to the sun, and the form of the intermediary space to functional requirements, result in a forest of continuously changing conditions that can be used flexibly. Flora and fauna can live here in a freely flowing space very similar to their natural habitat.

AGROkoppel: Design for a Self-Sufficient Agrarian Company

41

location 1:15000

legenda

n

01Agricultural land-use in the Netherlands

02Local production130 hectares of cultivated land to support 2350 residents of Griendtsveen and Helenaveen

trees

new nature

existing nature

controlled water-table

algae basin

grass land

drinking water

agriculture

horticulture

greenhouse horticulture

fruit growing

farmyard

height above water level (+NAP)

01

02

agriculture

cattle breeding

agribusiness parks

De Peelvenen plan area

42

crops

chickens

pigs

vegetables

cows

sheep

manure fermentation

turbine

market

plant water

greenhouse

storage

farm yard

water retention

oil press

algae

04 06

03 05

07

crops

chickens

pigs

vegetables

cows

sheep

manure fermentation

turbine

market

plant water

greenhouse

storage

farm yard

water retention

oil press

algae

zon orientatie

landschap orientatie

woning

loods

stal

kas

hoofdweg

eigenweg

sun orientation

5 50' 20" east0

51 20' 10" north0

uitzichtuitzicht

topografie

hoofd kanalen

wegen & zandwegen

topografie kavel

gietwaterbekken alg

regenwaterbekken

gietwaterbekken kas

topografie kavel

algenkweek

teelgewassen

fruitteelt

grasland

tuinbouwgewassen

voedergewassen

topography

grasland

algae basin

fodder plants

fruit culture

horticulture

cultivated plants

hoofd kanalen

wegen & zandwegen

topografie kavel

gietwaterbekken alg

regenwaterbekken

gietwaterbekken kas

topografie kavel

algenkweek

teelgewassen

fruitteelt

grasland

tuinbouwgewassen

voedergewassen

inletrain

outlet

topography

03Ecosystem, closed energy cycle

04Use of land, use of water

05Use of site, use of water

Architecture

06Use of site; planned according to ground moisture

07Isometric of site with built strips

43

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09

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14

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13

C3.C4. C1.

B1.

B4.

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D4.

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E4.

C2.

temperature 2008 (KNMI)



maximum 0C

minimum 0C

average 0C

comfort zone 0C

20

08Climate optimisation, C0-C5. Cross section of farm and water basins

09Climate optimisation, A0-G0. Long section of animal wing

10Climate optimisation. A3-G3. Long section of hothouse-plant wing

11Specific conditions, grazing livestock

12Specific conditions, indoor livestock

13Specific conditions, hothouse plants

14Basic spatial form

Translating the spatial and climatological requirements into parameters makes it possible to optimise the traditional farm building. Output is improved without limiting future alterations. The resulting forest of pylons acquires a continually changing, modulated spaciousness and light penetration. Animals live here in a freely flowing space that replicates conditions in their natural habitat.

15Solar orientation

16Turning away from the wind

17Turning away from the sun

18Turning towards the wind

19 Mutual space, linked result

20View of water basins, building and landscape woven together

17

18

19

Johan Rooijackers

44

21View of livestock building

22Flexible structure

21

22

RooF plan

B1

View oF Basins

C1

a0a3

B1&C1

pylon c1.1

C1

B1

1

1

1

2

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3

4 5 6

B2

C2

C5

C0

G0G3

architecture

B1C1D1e1

B2-e2

B4-D4C3

C4-e4

123456

lightweight dairy buildingHeavyweight pig buildinglightweight sheep buildingHeavyweight hen building

open farmyard

lightweight hothouseHeavyweight storage shed

Rainwater reservoir

passage from farmyard to landsliding doors at entrancesHalf-paved transition zoneloading and unloading areaFarmer changing roomGrazing area beside buildings

45

Curtain wall- Frames of flax/birch composite- ETFE sheet glazing

Climate skin and rook- flax/birch composite sheeting- ETFE sheet glazing

Structure- Flax/birch composite frames- Flax/birch composite gutters

silo Knot of separate frameworks

Connecting piece

Cladding

Detail pylon c1.1

24

23

23View of pig building

24Flexible structure

Johan Rooijackers

46Architecture

Nanotecture: From Soft Nano Structures to Adaptive Soft Architecture. In many different aspects of nature we can find a logic that defines a strong aesthetic. Nanotechnology is a science based on the control of matter at the scale of atoms and molecules. This science has a huge range of applications, from specially designed materials to intelligent microchips. At the scale of nanotechnology, where 1 nanometre is equal to 1 by 10-9 metres, we can find very interesting natural and artificial structures. And at this particular scale we can see different patterns that repeat themselves and have a logic that organises them. By repeating the same element we can create variation by defining grouping rules.

The architectural design that I choose is an institute for nanotechnology research. The building is based on nanotechnology research and development. It contains research facilities, study rooms, office spaces, conference rooms, laboratories, exhibition spaces, a library and common areas. The idea of creating an educational programme draws on the fast development of education in the Netherlands at the moment. In 2007 there was a competition in the High Tech Campus Eindhoven to develop a building for this specific purpose. This gave me a solid starting point for a suitable location and programme.

Carlos Saldarriaga


Commission membersHolger Gladys (mentor)Joost HovenierMoriko Kira

Additional member for the examinationKlaas KingmaIra Koers

The structure is a combination of steel columns and concrete walls in the main circulation cores. The steel columns are set in a grid of 10 by 10 metres. The beams are spaced at a maximum distance of 8 metres from each other. The building features panels that all have the same radius. This is the logic of nanotechnology applied to the architectural concept. This means I can offer new kinds of very specific spaces that have a strong logic. The facade panels are made of a light material (nanogel aerocel) that is transparent and acts as insulation if treated as an air chamber.

Research Centre for Nanotechnology on the High Tech Campus Eindhoven

48

01Facade

02 Section

03Level 2

04Level 0

Architecture

01

02

04

03

49

05Model

06Interior

07Overview campus

Carlos Saldarriaga

05

07

06

50Architecture

Close to Amsterdam is Rondehoep, a polder created ten centuries ago and the start of a long tradition. The rare radial pattern of parcels, the meandering dike around it and the magnificently empty centre have altered little over time. The polder is of great cultural and historical value.

But the surrounding countryside and social context have changed greatly. The countryside has become urbanised and the empty polder is ideal for water retention, an important natural area and a favourite area among holiday-makers. This fascination for the man and his drawbridge resulted in a series of small interventions that anchor the rationale for this very Dutch emptiness in society again.

In the event of a calamity, four inlets channel water into the polder. The earthen beam through the dike and the glass cylinder in the grassland arouse a sense of wonder. The visitor can play with the culvert, follow the course of the water, and also drain the water work. The descent into the polder is the start of pathway to the other side.

Dirk Schlebusch


Commission membersRob Hootsmans (mentor)Bruno DoedensHerman ZeinstraMachiel Spaan

Additional members for the examinationAnne HoltropRick van Dolderen

Two posts are landed in the polder. The three arms make unreal shelters without wind, sun or rain. Rainwater and groundwater are in direct contact with each other in the shifted centre. The polder disappears. Shelter is found in vulnerability. The post sinks slowly into the peat until inundation causes it to float and to start drifting in the wind.

There is a museum in the heart of Ouderkerk aan de Amstel, on the spot where the polder has disappeared owing to village expansions. One descends through a glass cylinder on the empty site. The centre has no scale, the edges are vague, the sky is infinite. In the dark depths the five works on display recall the sense of the polder.

Intensely bright intervals in blue and green, misty frost to a burning horizon; what you can see here was always like this, something unique in this man-made land.

Ode to the Polder

51

inlet on Abcoude scenic path

scenic path

inlet on Duivendrecht

inlet on south

inlet on Nes

post noord

post zuid

museum

Ouderkerk aan de Amstel

52Architecture

inlet

post

museum

53Dirk Schlebusch

54Architecture

The artificial, ecologically responsible island, located in the IJmeer, is designed as a rehabilitation centre for victims of slavery. Because of the favourable location in the future recreational section of the IJmeer, the institution and the use of the island can vary as needs require. Among the amenities provided are healthcare and education, but it is also possible to accommodate other ancillary services on the island. The typological concept of the island is particularly suitable for the ambivalent requirements of the programme because of which both safety and openness are important factors.

The personal development of the rehabilitating patient is the key to the design of the living area of the centre. That is why the living unit grows as the resident grows. It is assumed that all patients eventually recover and that their stay is therefore temporary.

The visitor section of the centre is combined with the harbour (a refuge for ships during storm), which could result in a direct confrontation with the issue of slave trade.Various specialists who help victims or contribute to dealing with the problem of slave trade work in the centre.

Svetlana Tsygankova


Commission membersArnd Brninghaus (mentor) Chris ScheenTijmen Ploeg

Additional members for the examinationRik van DolderenBart Bulter

The waterfront, positioned as a border between water and the island, forms the architectural link between outsiders (society) and insiders (victims). This waterfront offers the living area visual protection and, at the same time accommodates, various support services. The architectural representations of the three above-mentioned sections of the island contrasts with one another and each has its own atmosphere and tactility. The transparent, soft and natural looking living section creates a calm and humane environment. The sober and aloof visitor section and the harbour waiting room make people aware of the slave trade issue and even make it palpable.

The architectural conflict between the two sections of the island is intended as a criticism of the distance and attitude of exclusion adopted by society towards victims of the slave trade. The use of materials was inspired by the natural salt marshes that surround the island and is limited to timber and fair-faced concrete.

A National Asylum and Rehabilitation Centre for Victims of Slavery

56Architecture

01Section

02Night view

03Island

03

01

02

57Svetlana Tsygankova

04Living unit

05Entrance tower (public)

006Entrance tower (victims)

05

06

04

58Architecture

The building is a place where a group of researchers stays for a few years living, working, meeting, sharing and discovering. The background to this scheme for a scientific breeding ground is the government plan to improve the position of the Netherlands as a country with a high level of expertise. To achieve this, the government wants to promote excellence and stimulate students to undertake doctoral research, thereby increasing the height of the knowledge pyramid and, hence, widening its base. The project for a hotbed of scientific research is aimed at supporting and shaping this development.

The chosen location is the area around the former Shell canteen, opposite Amsterdam Central Station on the north bank of the IJ. This location marks the end of a green zone that extends from the Ringweg to the IJ and forms the starting point of a planned boulevard. This location was chosen because Amsterdam boasts the greatest number of university students and the biggest public transport intersections in the Netherlands. The location itself is a stones throw from Shells New Technology Center, one of the biggest research centres in the Netherlands.

The programme is primarily divided into two parts: a private part and a public part. In the private part is the core of the building: the living spaces and the workspaces for the researchers. The public section connects the private area with the outside world by means

Jochem Verbeek


Commission membersTijmen Ploeg (mentor)Gianni CitoJohn Bosch

Additional members for the examinationMadeleine MaaskantMarc a Campo

External engineering advisor: Mosh Zwarts

of a congress area with exhibition facilities and a centre of expertise with workspaces for students and visitors.

In the private area the researchers are grouped in what you could call a critical mass. Their space is arranged in such a way that only the most essential spaces are strictly private and all other functions are shared with the other researchers. This private world is divided into clusters that are more or less generic, but each cluster does contain one specifically unique function used by inhabitants of different clusters. The public section contains an exhibition area, a library, study spaces and a congress area, functions that bring the researchers and their work into contact with the outside world.

The building consists of one closed volume folded upwards to create a space between the layers of the block. Contained inside this volume is the private programme; the remaining space in the volume contains the public programme. A direct visual relation is established between public and private by positioning them directly opposite each other and opening up the inner side of the volume. As a result, researchers and their work are part of the exhibition, as it were. From the IJ side the building is designed as an extension of the boulevard and from the park side as a pavilion. The building has a strong character of its own that is in harmony with the surroundings and offers a counterpoint to the icons along the banks of the IJ.

Breeding Ground for Scientific Research

60

keuken

opsla

g kan

tore

nkantoor sta

wc

publiek

auditor

ium

entreepriv

entree

cafe/ re

st

fietsen

stalling

priv

entree

parkeer-

garage

entreepubliek

garderobe

opslag expositie

wcstaff

liftplatform

techniek

1000+P

1000+P

0000+P

0000+Popslagauditorium

A B

C C

werkplaats techniek

receptie

entree

kantoor

bar

0000+P

0 1 5 10 20m.2

0000+P

0000+P

wcwcpr

keuken

pr

01

02

03

04

Architecture

61

01Situation

02Level 4

03Level 1

04Level 0

05Facade detail

06Section

07Interior

07

05

06

living

library

library

relax dome experiment agro

experiment space

workspace

workspace

workspace livingexhibition space

exhibition spaceworkspace

assembly hall

installations parking garage

living

living

living

caf

62Architecture

Library FabricThe Binnen-Gasthuis was once a convent, hospital and orchard in a secluded part of historic Amsterdam. Today it forms the heart of the University of Amsterdam. A heart without a library.Characteristic of the area bordered by Nieuwe Doelenstraat, Oude Turfmarkt, Grimburgwal and Slijkstraat is a perimeter block enclosing a number of freestanding buildings that define a mixture of public, private and semi-private courtyards. Located in the most central of these spaces is the Crea Building, the former surgical clinic.

ProposalThe building has a logical structure, and alterations were made to accommodate the new library spaces. Consequently, some parts of the existing building are hidden, some are exposed, and some are demolished to form the new complex.The result is a new combination of old and new, of past, present and future, in terms of both architecture and the library programme. It would be a shame to demolish a historic building with so much potential for redevelopment. All cities adapt and adjust as time passes and must be flexible when it comes to reusing existing buildings.

Old and New The addition of a new layer to the Crea-building improves the relation

Sander Versluis

Graduation date 11 05 2009

Commission membersJo Barnett (mentor) Arnd BrninghausDanil Casas Valle

Additional members for the examinationPaul de Vroom Anne Holtrop

with the ground and, hence, to the surrounding public space. The new facade acts as a filter between inside and outside and influences interaction between the two. Each of the functions added (such as a private study space and the archive of the history department for example) has a different degree of openness, interaction and privacy according to needs.

Outside Space The addition of a library to the humanities department on this site enhances the historic courtyard structure and alters the focus and orientation of the Binnen-Gasthuis. The proposal combines the surrounding buildings and their existing public spaces with a new square.

The new square created by the library becomes one more in this series of existing public spaces. All squares have a different atmosphere, ranging from public to private and from green garden to a more solid urban plaza.These interconnected public spaces define the university location in the city and constitute the identity of the historic University of Amsterdam.The changing atmospheres and connections between the different squares introduce visitors gradually to the heart of the university, its library.

Knowledge Fabric: New Library for the Humanities Department at the University of Amsterdam

64

ADDITION OF NEW FACADE LAYER

EXISTING BUILDING

STUDY VOID

01Situation

02 Exploded view extension

03Interiour

04Section

05Facade build up

06Exterior and square

Architecture

01

02

65Sander Versluis

NORTH & EASTFACADE

Facade gradients

SOUTH & WESTFACADE VOID / no functionVOID / no function CIRCULATION STUDY A BOOKS

VOID / no function CIRCULATION STUDY A BOOKS STUDY B

10% 30% 50% 80% 90%

ZON

E 1

ZON

E 2

ZON

E 3

ZON

E 4

ZON

E 5

80% 80%ZONE4BOOKS

EAST WESTZONE5BOOKS

ZONE4STUDY

EAST

OUTSIDEPUBLIC

INSIDEPRIVATE

03 04

05

06

67

Urbanism

68

working on the city Urban Renaissance

69

The city is back again, thats for sure. Many of the urbanism projects by 2008-2009 graduates are set in existing urban contexts. Former industrial areas, factory complexes, docklands and a trade-fair grounds are tackled.

The projects by Sander Dekker, Frank de Volder, Monique Lankester-Zoer, Marijke Bruinsma and wicher Gielstra all aim at enhancing the quality of city centres. The locations they deal with are the blighted parts of the cities. with well-considered interventions, they lend new identity to the city with their schemes or search for ways to strengthen existing qualities. The assignments not only address spatial structures but also adopt a clear position when it comes to urban programming. wicher Gielstra recognises that only the congress area of the trade-fair complex in Utrecht possesses real potential so close to the city centre, and that this can be combined with other functions. Frank de Volder looks for a new living-working structure in the Eastern Inlands in Amsterdam, where there is space for small-scale commercial activity linked to water in the centre. Urban Remix by Sander Dekker introduces a strategy to slowly transform the Cartesius triangle in Utrecht from an extensive, abandoned area into an intensively mixed part of the city.

Graduation is the ultimate test of a students skills. what is striking is that the complexity of the assignments isnt shunned. They deal directly with the city, they are very feasible, and they should offer inspiration to those responsible for commissioning new developments in the Netherlands. The Deventer entrance by Jasper Pijls shows how a city-centre transformation can provide space for developments over the coming twenty years without extending the city further into the countryside. with this project Deventer acquires a new and lively centre linked to its historical centre, a new city entrance, and possibilities to accommodate commercial developments in a good manner. Arjan Jager works with the town centre of Zoetermeer and tries to connect the separated worlds of the automobile and the pedestrian to each other again, thus breathing new life into the outdated concept for the centre of an overspill town.All these projects offer perspectives for a topical social question: can we create areas of quality within the existing urban area?

Rogier van den Berghead of Urbanism Department

70

In addition to working with the existing city, there is a search for new forms of urbanity. These link landscape conditions to new forms of living. For example, Eline Keus introduces a dynamic living landscape that moves in unison with the growing coastal defence line extending from the Hook of Holland to The Hague. And Ren Blom develops a future vision for the Netherlands that is half submerged under water. The search for a new identity in the city surfaces again in the scheme by Marijke Bruinsma, who proposes a Camille Sitte-like urban design for the Oosterdok area in Amsterdam. A city in which to wander and discover. A powerful gesture that generates discussion immediately. The standard response to her project is: wow, but that will never work

That is the power of graduation work. It offers new insight into the citys potential. Hopefully the renewed interest in the discipline of urbanism can help familiarise those who commission developments with such powerful interventions. The sky is the limit...

working on the city Urban Renaissance

72Urbanism

Theres a lot of talk about climate change and the resulting rise in sea levels and problems with rainwater. The effects of this rise will be even more dramatic owing to the sinking of the ground levels in the western part of the Netherlands. In my graduation project I considered the spatial consequences of climate change according to the most extreme predictions of the Royal Netherlands Meteorological Institute (KNMI). I projected the effects in the year 2100. In less than a century we will be dealing with a different climate and a different social and economic reality. That reality will make different demands on the Dutch landscape.

These new conditions will change the appearance of the Netherlands. This makes the aim of preserving the current design of the Netherlands an unnecessary battle. It is more relevant to design the new shape of the Netherlands. And that is a different conclusion to the verdict of the Veerman Committee, in which preserving the current situation of all costs, regardless the upcomming changes, is the key issue. The design as reflected in the new map of the Netherlands in the year 2100 will strengthen the position of our country. NL 2100 proposes a new Netherlands: bring the water inside and ensure that the Netherlands becomes an attractive and distinctive water-rich base with a strong economic landscape, extensive leisure amenities, unique ecological opportunities, and exceptional residential environments.

Ren Blom


Commission membersBurton Hamfelt (mentor) Arjan KlokJoost van den Hoek

Additional members for the examinationRogier van den BergIngeborg Thoral

NL 2100

73

Living

Employment

Leisure

windmill Park

Solar Energy Park

Aqua Farming

Brackish water Nature

Infrastructure

74Urbanism

2010

2070

2040

2100

75

3_Rural suburbia- Wooded- wide rivers & lakes- high-tech industry

4_Strategic freshwatersupply+ recreation & living

6_Super-agrarian- 350 hectare plots- super ecient

7_Wetlands & super mounds - on border between wet and dry

1_Economic motor- port + airport- cultural & service sector- tourism & recreation- energy- living

2_Sustainable energy+ meat industry

5_Brackish nature - eco-tourism- super-eco living- aqua-farming

5_Brackish nature - eco-tourism- super-eco living- aqua-farming

warmermediterranean lifestyle

Dutchricher, older and more leisure time stimulate tourism and leisure

Rise in populationdemand for space (super urban and super suburban)

More energy conscious and more independentfacilitate production of clean energy

More conscious of food and more Independentmore efficient primary food supply

Drop in number of farmerstransformation and increase in scale

Resistant to floodingtransformation of west Netherlands into a water landscape

Enlarge fresh-water reservoirtransformation and demand for space

New economic landscapedemand for space

Mobility problemdemand for space

Administrative redivisiondecisiveness

Ren Blom

02

01

()

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()

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()

VNG+

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01Conditions

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76Urbanism

The fascination lies in the hidden place: whats behind the wall?

The new urban developments in the Oosterdok area of Amsterdam have changed it from a peripheral area into a very centrally located public space. As a result, Oosterdok now occupies a totally different position in the city, and will only become busier in the future.

The paradox lies in the hidden navy dockyard as a spatial and programmatic black hole in the Oosterdok. This is a problem for the Oosterdok as a public space, but at the same time this is also its strength.If the Oosterdok succeeds in deploying the secrecy as a positive quality, the potential of a new public space in the city can be realised and, consequently, it can form a unique addition to the city.

For this reason the hidden quality of the navy dockyard is made public. After extensive research it was concluded that a public hidden place is a sequence of spaces each offering a different experience. The connections between the spaces are key to increasing the tension. what is remarkable about this project is that the design was made by designing the experience of the spaces as moulds. Connecting the spaces results in structures that create possibilities for different routes. The building is a result of this, the negative mould so to speak.

Marijke Bruinsma


Commission membersRon van Genderen (mentor)Hans van der MadeMark Eker

Additional members for the examinationRein GeurtsenKatrien Prak


The plan consists of a number of layers that reveal the richness of the plan. The five types of spaces each have their own atmosphere, programme and use, from central square to secret spaces. The secret spaces are the most hidden spaces. Moreover, these are also the spaces that always have a (spatial) link with the context.

In addition, the plan is of great importance for the Oosterdok as a city structure. The silhouette is the translation of the image of the city behind the wall. The DNA of the hidden city makes the connection and increases the uniqueness. The addition of height accents at strategic and crucial spots creates a play of (in)visibility and attraction, from both inside and outside.

The navy dockyard thus becomes hidden and public!

The Hidden City

78

concept

ontdekking bij toevallig passeren

orienteren; je kunt verschillende richtingen op

glimp zichtbaar van de volgende ruimte

onoverzichtelijke ruimte die ook de route is naar de centrale ruimte

centrale ruimte is niet direct zichtbaar

pleinruimte, schijnbaar hoogtepunt van de route

moet je vinden vanuit de centrale ruimte

onoverzichtelijke besloten ruimte; route naar geheime ruimte

te ontdekken bijzondere kwaliteit als verrassing!

poort 01 entree steeg 02 voorruimte passage 03 centrale ruimte gang 04 achterkamer poort 05 geheime ruimte

1 2 3

45

1 2 3

45

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2

2

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79Marijke Bruinsma

01The hidden place

02Busy public space

03Concept

04Possible structure

05Plan

06Central space

07Night silhouette

06

05

07

80Urbanism

Sander Dekker


Commission membersLuc Vrolijks (mentor)Kees BentvelsenBerno Strootman

Additional members for the examinationRogier van den BergIngeborg Thoral

Urban Remix

Located between the rail tracks from Utrecht to Amsterdam, Utrecht to The Hague and the Amsterdam-Rijn Canal is the desolate Cartesiusdriehoek. This business area is a blind spot in the city, both literally and figuratively. It is extensively used but you dont go there unless you have to. The development of Leidse Rijn means that the area is now located in the middle of the city.

The changed context offers the city of Utrecht a unique opportunity to build in high densities, mix residential and employment areas and make the public space the domain of pedestrians and cyclists once again. Designating the Cartesiusdriehoek as a city-centre transformation area will strengthen the position of Utrecht as an enterprising and creative city. In addition, it can contribute to the citys aim to boost sustainability.

A mixed urban programme of at least 5000 dwellings and 500,000 square metres of non-residential space forms the starting point of the transformation. A clear and

flexible framework for the design of pubic space is essential to accommodate this programme within the plan area. Three strategies are deployed to achieve this: - Strengthening the edges:

introducing the canal boulevard and constructing fronts along the tracks.

- Focusing on the long lines: a public space network that stresses the quality of space, that ensures access to the plan area, and that is well connected to the urban context.

- Strengthening the four worlds: four areas, each with its own functional mixture, density and process of transformation.

Strengthening the existing spatial qualities and adding new ones create good living and working conditions. The introduction of the canal boulevard means housing can line the water. The current structure of plots in the Tractieweg area is big enough for both employment areas and internal housing quality.

82Urbanism

1900 1940 1960 1980 2000 2015

01

02

03

01Development of the city

02Potentials30 minutes from SchipholStrategic location between two city centresOn the sunny sides of the ARK

03InterventionsStrengthening edgesEmphasis on long linesStrengthening of four worlds

04Plan

83Sander Dekker

04

84Urbanism

The Jaarbeurs complex consists of three halls with a total surface area of 120,000 square metres. The halls constitute just a limited part of the total footprint of the Jaarbeurs. In addition to the trade-fair halls and congress spaces, a large part of the site is devoted to parking. The ratio of built to unbuilt is about 1:3. In the past this was the perfect site for the Jaarbeurs: close to the station, close to the motorways, and on the edge of the city in an area dominated by commercial development.

Since then the city has expanded and the Jaarbeurs is no longer a peripheral location. The site occupies an increasingly central position within the urban network. In the past it was easy to reach the Jaarbeurs by car, but that is increasingly difficult owing to the growth of the city. If one considers the use of space and amount of space occupied in relation to its function and location, then its clear that the Jaarbeurs is no longer in the right place.

Wicher Gielstra


Commission membersRients Dijkstra (mentor)Martin AartsJeroen van Kesteren

Additional members for the examinationHenk BouwmanIngeborg Thoral

Moving the Jaarbeurs offers the chance to create a new 50-hectare city-centre area. The plan for this 50 hectares forms an addition to the city centre and, moreover, a new centre for Utrecht West. A balanced relation between living, working and leisure forms the basis here. The plan must also facilitate a living environment where residents can spend their entire housing careers, from the cradle to the grave. This means that the plan must contain a variety of housing typologies.

The plan consists of strips with building blocks on them, inspired by the structure of Utrecht city centre. The structure of the city centre makes a multitude of housing typologies possible. The building blocks consist of a hard outer side with urban amenities and urban housing. The informal courtyards are intended for residential use and related amenities.

Beyond the Jaarbeurs

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graduation projects 2008-2009

Documents

lives of students

landscape architects

students aware

changing landscape

industrial landscape

academy of architecturemaster

landscape architectureits

graduation work