graduations publication 2014-2015

ArchitectureUrbanismLandscape Architecture GraduationProjects 2014-2015Amsterdam Academy of Architecture

ArchitectureUrbanismLandscape ArchitectureGraduation Projects 2014-2015Amsterdam Academy of Architecture

Contents

10 Edwin Oostmeijer, The Trunk of the Elephant

ARCHITECTURE 14 Jarrik Ouburg, To ask the question is to answer it

18 Dirk Durrer, House of the Senses 24 Immanuel Fustle, GenerationLab 30 Eva Engele, Counterspace 36 Sylvia Hendriks, Port of refuge 42 Marjan van Herpen, Present 48 Alies Koree, GAASTER[LAND-GOED] 54 Marco Kramer, Re-Creation 60 Hein van Lieshout, The New Dam 66 Sjors Onneweer, Space for a place 72 Milad Pallesh, Pairi Dza 78 Jeroen Schoots, Believe in health 84 Mark Spijkerman, House of Power 90 Marijke van Suijdam, The loop 96 Egle Suminskaite, Platform for science 102 Giles Townshend, Reimagining Sheepscar 108 Jim de Valk, Swifterbant cemetery 114 Michiel van Zeijl, The Thermae of Ockenburgh 120 Lars Zwirs, The European Embassy

URBANISM 126 Arjan Klok, Expectations

130 Eric-Jan Bijlard, Aveiro Lagoon Science Park 136 Geert den Boogert, Boomerang Sloterdijk 142 Tijl Hekking, Lake for entrepreneurs 148 Els Van Looy, From burden to desire 154 Luc Spee, The amalgamation 160 Sjoerd Wolbertus, The Periphery Central

LANDSCAPE ARCHITECTURE 166 Maike van Stiphout, Prepared for the future

168 Jacques Abelman, Urban L.A.C.E. 174 Marijne Beenhakker, New perspective for the Hollandse Hout 180 Math van Kranenburg, Deep-Rooted 186 Judith van der Poel, Watery Huzhou 192 Hannah Schubert, Second Nature 198 Gert-Jan Wisse, Common Ground Belfast 204 Yuka Yoshida, Re.CLAIM

210 Archiprix 2016 Nominations

The Trunk of the ElephantEdwin OostmeijerVisiting critic

11

A trunk sometimes shows more than the whole elephant. That is a lesson that I learnt when I was still a journalist and received writing training from a poet. Describe the fear of the dark from the viewpoint of a child, read one assignment. I can still remember it very well. You step into a lift in a hotel, go to the 13th floor and enter into a discussion with an eccentric older lady. Describe this situation without using one of these words.

A multitude of short exercises without much time to think about them. It taught me to tell stories. We are all inclined to tell too much; rather too much than too little. What it always amounts to, of course, is getting through to, seducing or seizing the other person by the throat. The question and challenge is how you achieve that.

The thing which struck me about the 31 graduation projects at the Academy of Architecture from the past year is that they are all indeed stories. Students and graduates have a story to tell. And they do that with verve.

The subjects are unbelievably diverse. From accommodation for refugees to the partial demolition of the Stopera building complex in Amsterdam, from restoring the broken band between Tokyo and its Nihonbashi river to activating remaining residual spaces around, between and underneath the railway track in Rotterdam-Noord. Large blocks of buildings were drawn, in orderly formation, with many green outdoor spaces. It is interesting that these buildings can shrink and grow, according to changes over time. Big, bigger, biggest or rather very small, orderly and well-chosen. I have seen tents pass before my eyes, like a travelling circus for refugees, accommodation for the elderly in Havana, a clever parcelling for small-scale residential building in Flanders. A European embassy in Delhi, colourful orchards in a grey city somewhere in Brazil. They are all interesting assignments, some of which get bogged down in good intentions and others which grow wings.

Impressions sometimes display what the assignment is about at a glance. Plans can also help one understand which intervention is proposed for which place. The question is why that specific intervention is desirable. Who is the intervention intended for and why would people want to contribute to this?

Making beautiful impressions. Most students are currently unbelievably adept at that. It often looks polished and seductive. The impression as the means, but with which objective? I once became a property developer by accident. Trained as a journalist, one day I came across a camouflaged empty German bunker in the historic city centre of Utrecht. According to the zoning plan, residential building was an option. A drawing was made quickly. A drawing showing what I and my architect had in mind for that location. A beautifully restrained apartment building on the foundations of the old bunker. The drawing was the beginning and the real work began afterwards. Telling an honest and seductive story to politicians, local residents and financial backers. Why it was a good idea to replace the bunker with a new residential building. That is something you can learn. You can learn to tell the right story to the right person.

We can all draw paper tigers and elephants, one better than the other, but the drawback of paper tigers and elephants is that they never roar. They are beautiful animals, yet animals that are never heard. It is about finding stakeholders, being able to surround yourself with people and bodies that want to allow your idea and assignment to become a reality. That is one of the most important question that I have, with regard to the rich harvest that the Academy of Architecture has delivered in the past year. Have you ever invited property developers to the Academy in order to exchange ideas about the assignments of these times? Have you ever spoken to a municipal councillor, a high-ranking official, a chairman of a water authority board or another administrator? With his project Pairi Dza, the old Persian word for paradise, Milad Palesh has told a beautiful story about children who

12

live with their parents around walled gardens. Has a developer or municipality ever looked at this beautiful ensemble of residential buildings around Persian gardens?

What we talk about when we talk about love, which is also the title of a story by the American writer Raymond Carver. The wall in Belfast which has been partially demolished by Gert Jan Wisse, as a result of which a long-hidden river emerges and the flowing water becomes a metaphor for a new and hopeful world in a traumatised city. Then the museum of Mr Scheringa which was never realised. The enormous building was already a ruin before it was completed. A new designated use was never found easily. Hannah Schubert did not search for obvious solutions in her graduation project Second Nature. No transformations into homes or office space, but small interventions instead, which over time ensure that nature takes over the building and changes it into a wilderness. The building as landscape. The French have a beautiful expression for that: Cest la nature qui va le manger. Three of the four nominated graduation projects are landscape projects. That was the surprise for me this year. The enormous power of the landscape, the relationship between the developed and undeveloped space. Poetry is sometimes captured in the graduation projects, poetically beautiful, whereby the trunk often told me more than the whole elephant. And now go outside! Take to the streets! You will roar, roar very loudly!

Jarrik OuburgHead of Architecture Department

15

To ask the question is to answer it Salvatore QuasimodoHow can you integrate a cemetery into the heart of the village Swifterband and thus give the inhabitants the opportunity to not only live in the village, but also to be buried there?

How can you design a building where deaf, deaf-blind and blind people take the healthy people by the hand?

How can you integrate an existing motorway with new buildings in such a way that the spatial quality of the surroundings is given a spatial boost?

How can you introduce the concept urban ensemble into the English context, whereby an alternative is offered to large-scale apartment complexes in the city on the one hand and endless amounts of single-family homes in the countryside on the other hand?

How can the Stopera complex in Amsterdam once again form part of the city, and in transforming this building where is the historical core which can be built upon?

How can you design a part of the city in which the desire of different generations to live together and take care of each other is realised?

Architecture

16

How can you design a humane place close to Amsterdam Airport Schiphol where people seeking safety and peace in the Netherlands can apply for asylum?

How can you design a residential complex in Cuba for a mixture of residents, in which music (and its transmission) is a catalyst?

How can you design a place of residence for asylum seekers who have exhausted all rights of appeal in which the residents regain a sense of self-worth and are given a role in the city through a combination of living and working?

How can you design a building where sport, relaxation and physical and mental exertion are the main focus, and architecture is the medium that ties everything together?

How can you shape the growing demand for holiday homes in the bulb-growing district in such a way that they reinforce the existing qualities of the landscape?

How can you improve the rehabilitation of people who have ended up in a wheelchair through architecture?

How can the new housing for a growing church community simultaneously be a place for contemplation, as well as a place where the church can play a new social role?

How can a design of a European embassy in New Delhi be a means of fostering understanding of the values of different cultures and ensuring sustainable peace in a globalising world?

17

How can you transform a mono-functional campus in Lithuania that is dominated by motor traffic through a single clear intervention, as a result of which the buildings are connected once again to each other and nature becomes the connecting element?

How can you create a lifetime neighbourhood where everyone can remain living, have children and grow old by means of clever shrinkage and growth scenarios on the scale of the home itself?

How can a holiday park make more use of the existing qualities of the location and be flexible in its design in such a way that it allows different forms of use?

The generation of graduates this year make optimal use of the possibility at the Academy to graduate on a subject of ones own choice. The background to the plans vary from personal motivation to social engagement. The lines of approach are very different, but what the students do have in common is that they are part of a generation that commenced and also completed their studies at a time when the building sector was in a very bad state. That may be the reason that the role of architecture as means and as objective are less strongly represented in these plans. The questions and accompanying objectives that the students have set themselves go beyond the architectural quality. The students are concerned with the difference a building or architecture can actually make; architecture as a societal, social and cultural catalyst. I am convinced that it will be this generation of students who can restore trust in the field and convince the sceptics that architecture can be more than an extra layer to a building when the budget permits that. It is a generation that is seeking to integrate architecture in the foundations of a culture.

To ask the question is to answer it

Architecture

18

IntroductionIt must become a House of the Senses, which is also available to deaf-blind people and blind people. Hearing, seeing, smelling, feeling and tasting can also be examined and treated there. The question is how you can play on the senses by means of architecture. By switching off one of the senses, you rely even more on the others. One sense functioning badly can be compensated for by another sense. Furthermore, the choice of material can be influenced by touch and smell.

FascinationIf you are deaf, you do not hear and speech does not develop after birth. If the speech does actually develop, this is very difficult to understand. How is it possible to learn how to talk if you do not hear your own voice and cannot correct it. A deaf person who can talk is like a blind painter who paints a landscape.

Deaf spaceDeaf people have a strong sense of community and often feel connected with a building. The space that exists can give a good feeling. Light is necessary to be able to see the place where we live. How is light and space formed? What are concept and space made up of? What is necessary in order to understand the building and to navigate ones way there? Openness means no boundaries. Let the space flow through the building. You must feel at ease everywhere and be able to see each other in the building You must also be able to have a private discussion. You must be able to walk through the building easily, but there must also be surprises and it must be possible to organise different things at the same time. A staircase offers the opportunity to see others through the open space.

InspirationSpace that consists of free-flowing circular movements is linked to the invented anthropological term maluma and is the soft, flowing essence of deaf language and culture. Deaf people can see each other better in a semi-circle opposite each other. Takete is the opposite of maluma and is a rigid, sharp and angular aesthetic.

Graduation date22 06 2015

Commission membersChris Scheen (mentor)Machiel SpaanJeroen Spee

Additional members for the examinationIra KoersMicha de Haas

Dirk DurrerHouse of the SensesA safe harbour for the deaf & blind

19

Tailor-made area: from far away during the day.

Tailor-made area: from far away in the evening.

Dirk Durrer

Architecture

20

Image caption

Location: concept.

Situation: head of the Java Island.

Location: public area and semi-public area.

Image caption Image captionImage caption Image caption

Image caption

Location: orientation in the evening.

Location: recreational activities.

21

Accessibility: closed mass.

Image caption

Section: 3D Section.

Accessibility: corridor and main axis.

Accessibility: view.

Accessibility: public and private.

Dirk Durrer

Architecture

22

Corridor: deaf people can see each other and communicate.

Materialisation: sensory experience, see.

23

Section + facade: cross section + west facade.

dwarsdoorsnede + westgevel 1:100

begane grond 1:200

4e verdieping 1:200

Plan: fourth floor

Plan: ground floor

Dirk Durrer

Architecture

24

Immanuel FustleGenerationLabResearch into a lifetime neighbourhood

The government has been working on cutting back on the welfare state for several years and is focusing on self-reliance. This means living at home longer and depending on neighbours, friends and family. This is, in principle, a nice idea, but unfortunately the phenomenon of being hesitant to ask for or offer help is not included in this policy. You want to help, but are afraid of being trapped or the other way round You would like help, but dont want to burden the other person. Urban sociologists warn that this phenomenon could lead to the policy failing.

This lifetime neighbourhood is an urban answer to the current policy. Multiple generations can live with and next to each other. And there is room for the dynamics of families and getting older. By searching for common denominators, my project contributes to breaking down the hesitancy to ask for or offer help.

Dynamics of families, growing older and lifetime neighbourhoodLiving in a lifetime neighbourhood means that you stay living in the same apartment or the same neighbourhood as you grow older. Famillies have the most dynamic and demanding households. Therefore each family home has 2 shafts and 4 splitlevel domains. The kitchen and living room domain, an oversized children domain, a parents domain and work domain. Each domain has its own entrance which gives the option of being able to sublet without loss of privacy. As a result, you can make smaller independent homes with minimal architectural adjustments. In the event of the number of family members decreasing you can thus sublet part of your house. Applying the same subletting principles in eldery homes gives the oppertunity to live longer at home in case of a (health)care demand. In the case of a growth demand (for work or living), this means that the need for space can not only be solved in internally, but also in the neighbourhood. Over time this will result in a dynamic and socially sustainable neighbourhood.

Common denominatorsElderly people live on the ground floors and families live on the upper floors. The various generations can meet each other on the elevated extensive collectieve roof gardens and in the collectieve adjoining garden rooms. These collective indoor and outdoor spaces are programmed by small groups of residents.

Individuality vs collectivityThis low rise high density neighbourhood with 124 homes per hectare is designed on the basis of the outdoor spaces with attention for landscape experiences, human scale and precise transitions between public, collective and private domains. Different levels of individuality and collectivity can be found in the urban design, stairwells, facades and homes. The point of departure is always the possibility of decreasing or increasing your distance from your neighbour or family members, both inside and outside. Privacy buffer zones in the facade contribute to the level of privacy.

Location and urban designChildren and elderly people in particular like to have a quiet car-free neighbourhood, where there is also enough hustle and bustle at the same time. This is why the neighbourhood is located above the busy car park of Artis zoo. Visitors of all ages park under the neighbourhood in an ascending split-level car park. During the day, they create the hustle and bustle in the public street above when they walk to the entrance of Artis. A sequence of four public squares traverse the street and mark four neighbourhoods. Public facilities, small collective alleyways and collective courtyards situated lower down connect with the squares. The dimensions of the small communities stem from the growing roaming radius of children growing up. The youngest discover (the neighbourhood around) the house and the roof gardens first. The older children can be found in the courtyards, alleyways, street and neighbourhoods.


Commission membersJan-Richard Kikkert (mentor)Ira Koers Susanne KomossaHanneke van Lieshout

Additional members for the examinationMachiel SpaanHerman Kerkdijk

25

section multiple generation apartments connecting extensive collective roofgardens and public street

Immanuel Fustle

Architecture

26

1overzicht 1:500

plan ground floor: A. neighbourhood policing centre, B. neighbourhood supermarket, C. childcare, D. caf/restaurant, E. Artis

A B

D

B3D7

27

werk

openbaar

collectief

collectieve multifunctionele ruimte

prive

auto

dimensions collective courtyards for elderly peoples (group)homes

dimensions collective/public urban water garden courtyards

dimensions collective alleyways with space for self-employed workers

dimensions street by the public squares

dimensions public street with high setback volumes

D

roof edges same height as Entrepotdok

straat met hoogte verschillen

steeg

straat met harde en zachte kantplein

werk

openbaar

collectief

prive

P P

steeg

P

22m

2m

etsvoetpadcollectievetuin

collectieveentreezone

11-16m

4-7m 2m 3m 2m

34m

plein

14m

7m 2m 3m 2m

P P

4m

2m

15m

14m

12-17m5m

11-16m 27m 7m


steeg


werk

openbaar

collectief

prive

P P

steeg

P

22m

2m



11-16m

4-7m 2m 3m 2m

34m

plein

14m

7m 2m 3m 2m

P P

4m

2m

15m

14m

12-17m5m

11-16m 27m 7m


steeg


werk

openbaar

collectief

prive

P P

steeg

P

22m

2m



11-16m

4-7m 2m 3m 2m

34m

plein

14m

7m 2m 3m 2m

P P

4m

2m

15m

14m

12-17m5m

11-16m 27m 7m


steeg


werk

openbaar

collectief

prive

P P

steeg

P

22m

2m



11-16m

4-7m 2m 3m 2m

34m

plein

14m

7m 2m 3m 2m

P P

4m

2m

15m

14m

12-17m5m

11-16m 27m 7m


steeg


werk

openbaar

collectief

prive

P P

steeg

P

22m

2m



11-16m

4-7m 2m 3m 2m

34m

plein

14m

7m 2m 3m 2m

P P

4m

2m

15m

14m

12-17m5m

11-16m 27m 7m


steeg


werk

openbaar

collectief

prive

P P

steeg

P

22m

2m



11-16m

4-7m 2m 3m 2m

34m

plein

14m

7m 2m 3m 2m

P P

4m

2m

15m

14m

12-17m5m

11-16m 27m 7m

family homes

generation homes

elderly peoples homes on ground floors

roof gardens and garden rooms

transitionsprivate-collective-public

definition of domain connections forms landscape

car park

animal sheltersArtis

Immanuel Fustle

Architecture

28

family apartment divided into two

family apartment

construction family block

prive

collectief

openbaar/collectief

prive

collectief

openbaar/collectiefprive

collectief

openbaar/collectief

prive

collectief

openbaar/collectief

roof gardens and garden rooms

family apartment

Two-room apartment

storage space

car park entrance

space for self-employed workers

family apartment with four split-level domains

prive

collectief

openbaar/collectief

parents

loggias +kitchen +living room

work

children

family home facing collective courtyard with view on loggia, living room and children domain

29


steeg


werk

openbaar

collectief

prive

P P

steeg

P

22m

2m



11-16m

4-7m 2m 3m 2m

34m

plein

14m

7m 2m 3m 2m

P P

4m

2m

15m

14m

12-17m5m

11-16m 27m 7m

lower down situated public/collective water gardens with elderly homes and entrance family homes

privacy buffer zonein alleyways

privacy buffer zonein collective alleyways

privacy buffer zonetowards publc street

privacy buffer zonetowards collective courtyards

privacy buffer zoneloggia towards collective domains

concept materialisation street

alleyway with spaces for self-employed workers direction public/collective water garden and car park entrance


steeg


werk

openbaar

collectief

prive

P P

steeg

P

22m

2m



11-16m

4-7m 2m 3m 2m

34m

plein

14m

7m 2m 3m 2m

P P

4m

2m

15m

14m

12-17m5m

11-16m 27m 7m


steeg


werk

openbaar

collectief

prive

P P

steeg

P

22m

2m



11-16m

4-7m 2m 3m 2m

34m

plein

14m

7m 2m 3m 2m

P P

4m

2m

15m

14m

12-17m5m

11-16m 27m 7m


steeg


werk

openbaar

collectief

prive

P P

steeg

P

22m

2m



11-16m

4-7m 2m 3m 2m

34m

plein

14m

7m 2m 3m 2m

P P

4m

2m

15m

14m

12-17m5m

11-16m 27m 7m


steeg


werk

openbaar

collectief

prive

P P

steeg

P

22m

2m



11-16m

4-7m 2m 3m 2m

34m

plein

14m

7m 2m 3m 2m

P P

4m

2m

15m

14m

12-17m5m

11-16m 27m 7m

parents

children

Immanuel Fustle

Architecture

30

The project shows the spatial potential of the North Line in Rotterdam. The area is a 2.5 km long and up to 400 m wide strip between three city parts, currently dominated by large-scale infrastructure and a large amount of unused spaces.

The proposal sets up an urban strategy to transform this void within the city into an active recreational line with different scenarios. Rotterdam North station area is used as an example to show the strategy in action.

Organising the area on all scales and creating the possibilities for activities to happen are essential for these left over spaces to function. The project is not about the building itself, but about the space it creates around it. I have designed a counterspace for Rotterdam North line. A space in-between, where activities inside the buildings are extended into the public.


Commission membersUri Gilad (mentor) Bruno DoedensRen Heijne

Additional members for the examinationIra KoersJan-Richard Kikkert

Eva EngeleCounterspaceRotterdam North Line

31

1

1

1

1

Eva Engele

Architecture

32

void inside the city connect new connection

architecture

Rotterdam North Station area

counterspace

dialogue with infrastructurehiding the infrastructureexisting situation

North Line in Rotterdam

33

urban space where nature, variety of infrastructures and public program coexist

Eva Engele

Architecture

34

existing situation

downgrading A20 - from motorway to city boulevard

urbanising railway line Rotterdam - Gouda

new routes

more accessibility

intensifying ecological values

adding programme

multi-functional space / Rotterdam North station / Bus, tram, water bus stop / culture activities / recreation & commerce

strategy

4

2

5

1

3

35

multi-functional space

Rotterdam North Station

multi-functional space

art gallery

2

3

4

5

extending activities within the buildings into the public

Eva Engele

Architecture

36

The current migration flow to Europe is starting to assume substantial proportions. Every year, thousands of refugees arrive in the Netherlands. They travel not only by boat across the Mediterranean, but also by plane. This journey by air from outside Europes borders is their entrance into the Schengen zone, which determines registration in the first EU country of arrival. The Netherlands has a deterrence-based asylum policy, which becomes particularly clear during the registration process for refugees that takes place in detention at the airport. Like criminals, refugees await their asylum procedure in prison with similar restrictions. A Western country like the Netherlands, which presents itself as a humane and modern community, can not deal in such a way with people in need. The refugees often come having suffered a traumatic experience in their country of origin and strongly in need of safety and peace.

In this project, I want to show that it is possible within the existing policy and politics to deal with refugees in a humane way. A place where safety and privacy is guaranteed for a vulnerable group of people, and the two-week registration process can be completed in an efficient manner for all parties. On the border with the Netherlands and the rest of the world, the building is positioned at a location in the Dutch polder landscape, elusive and detached from its immediate environment. Matching the subdued nature of the vulnerable users, the Port of Refuge focuses on the views of the ever-present horizon.

The programme derives its scale from a recognisable architectural form of living, which refers to the surrounding built context of polder barns and farms. Fitting into the grid of the Haarlemmermeer polder, living areas, recreational areas and offices will form a so-called lintdorp (ribbon village) in the polder. The building is materialised from one material, which will show multiple shades and merge into the Dutch air. The building retains its proximity to the outside world by means of the flat finish detailing of the facade.The building contains individual and inviting spaces inside. The diverse users with their own needs each receive a residence overlooking the horizon. One can stay outside in several places and there is an ongoing collective space without gates, fences or closed doors. After 14 days, there will be definite answer about the future: asylum procedure or a return.

Positioned in a no mans land, the project facilitates a first step into a possible new future without making any promises.


Commission membersMarcel van der Lubbe (mentor)Ira KoersRob Hootsmans

Additional members for the examinationMarnix van der MeerLaurens Jan ten Kate

Sylvia HendriksPort of refugeA welcome to refugees

37

Sylvia Hendriks

Architecture

38

Entrance area

bo

rder

NL

39

Collective garden

Sylvia Hendriks

Architecture

40

Room with a view

41

Sylvia Hendriks

Architecture

42

To show my potential significance as an architect, I have given myself a fictitious assignment. I want to make something I do not yet understand tangible, using my own area of expertise. I also want to address the current situation, to make visible what we, the Dutch society, do.At the Academy, I have researched the accommodations of refugees and aliens; research into how the Netherlands physically receives the people who seek asylum here. During my research I discovered that people disappear from the system.

Some aliens vanished into anonymity at the moment of their scheduled deportation, but did not leave. Others cannot be deported because they do not cooperate, or because their country of origin will not recognise them, or because it is too dangerous there to be sent back. Ilegals may not be here legally speaking, but factually they are definitely present.The Dutch state intended to present a sound reception/deportation policy starting January 2010, which in turn caused the municipalities to close their shelters. However, there is a hole in this policy. And in that hole there are people.Those without nationality do not have rights. For them, human rights are a utopia; an unfeasible dream. Refugee aid organisations can relieve the poverty of these displaced people, but they cannot improve their actual situation, the fact that they cannot be part of a visible community. The alien does not want accidental charity, they want their basic human rights: a house, work, a family and citizenship. It is impossible to pursue these rights when you are a person without nationality.

The assignment is to create a manifesto for this grey area in which one can be somewhere while not being allowed to be there. A telling sign, visible, for people who act as invisible as possible. A (temporary) accommodation, a refuge, to give these people a collective place to bridge the interim period. A hiding place where one can recover from the hunted existence and where there is space to hope and dream. A place to be visible, to present oneself, where one can work to provide oneself with the basic necessities; to be self-sufficient instead of being dependent on support - work is not only financially, but also psychologically, a basic necessity. In the middle of life, these people are made passive, when they have enough to offer. This is a place where they can develop themselves. A place where they can offer their abilities to the city, to us, to earn their own livelihood. In the scenario of my fictitious assignment this, in line with old Dutch customs, will be tolerated. The challenge is to unite the conflicting interests and its spatial materialisation in one building, in a new typology.

For this purpose, I have created a programme of requirements with specific workspaces. The workplace functions as a buffer between pubic and private. A part of the workplace is accessible to the public; for example for sales, and a part is inaccessible, for focused work, but still visible. The physical limits of the workspaces influence possible relationships and the type of work and vary in degrees of visibility. By placing these limits, or spatially speaking, these shells over each other, the limits pile up. The more shells, the less accessible; the more private. Or conversely: the external skin becomes increasingly thinner. In the spaces between, the workplaces arise.

Much like this project is about the alien other, I also search for what is unfamiliar to me in designing; I want to surprise myself, to make something I do not yet know.


Commission membersGianni Cito (mentor) Frank HavermansPaul Toornend

Additional members for the examinationMicha de HaasJudith Korpershoek

Marjan van HerpenPresent

43

Marjan van Herpen

Architecture

44

I have further elaborated on the location Weteringcircuit. A station of the North/South metro line will be placed on the North side: the greatest onrush will come from the direction of the museums (from the South West towards the Weteringcircuit). I aim to keep this area as open as possible from the direction of the city centre, on the North side, the Vijzelgracht. The building will be placed in the North East corner, to facilitate an access from the roundabout and to fit in with the rest of the existing sub square.

I choose a collection of small buildings to prevent it becoming an institute, an impregnable fortress. The locations consist of a combination of: - Stations: to reach the network of friends and acquintances; a station is a place where one can be at once anonymous and visible, and it is a symbol of transition, - Open green places: where there is space to build something, - Residential areas: to increase the quality of life of my building. They are locations which would fit a small building, which fit in with the neighbourhood and the larger network of the city; with the local resident and the passer-by.

mogelijke afmetingen van ondergrondse Stationshal

zicht

vanu

it de

stad

zo o

pen

mog

elijk

laten

, ove

r Circ

uit h

een

afslag Circuit op mogelijk

shortcut, vanuit Muse

a naar metro, door g

ebouw heen, overdag

ground floor plan

night_theoretical (roundabout = moat) Living private/ work / work publicnight_inside daytime private / public

45

I want the location to influence the appearance of the building. Through the use of vectors, I follow the outline.

I reform this around the trees and in such a way that the internal corners are accessible.

On it, I place the work units with the public section inside the outline and the private section on the outer edge of it.

The private section will be situated at the external edge surrounding it, in order to create a closed first impression.

floor plan

daytime private / public

0 1 2 3

rooms / communal spaces rooms (short cuts) routes

Marjan van Herpen

Architecture

46

publically accessible work spaces private spacesinaccessible work spaces

concrete slab : foundation for the publically accessible work spaces

carpeting: foundation for the separate private spaces

wooden floor: foundation for the inaccessible work section

private spaces in wooden skeleton construction with the construction on the outsideand the finished side on the inside

Plan fragment: coffee house with a kitchen as a closed work section and a bar as a public section. The kitchen is in the private section.

Fragment in scale model 1:20

section

47

exploded view East side

blocks of wooden skeleton construction function as columns for the following layers

construction for the next layershell of polycarbonate: these cover the inaccessible yet visible work spaces

the tent: a thin shell in order to make the boundary between the public external space and the publically accessible work space as thin as possible

1

4

7

2

5

8

3

6

9

Marjan van Herpen

Architecture

48

The plan Gaaster[land-goed] demonstrates a new contemporary way of relaxing at a holiday park, in which the contact between the user and the surroundings is key. The current developments in the field of holiday parks in the Netherlands consist of large-scale parks. The parks constitute almost complete village extensions in themselves with an entirely unique style, level of facilities and accommodations. A similar all-inclusive range prevents the holiday-maker entering and exploring the surroundings. With this park layout, hardly any use is made of the local qualities and facilities present, in spite of the fact that the holiday maker in the year 2015 increasingly demands authenticity, contact with nature and the surroundings. The plan Gaaster[land-goed] demonstrates how an existing but unused country estate can be transformed into a new, contemporary small-scale holiday park with houses as part of a larger recreational network. The holiday maker can, on the basis of the desired atmosphere and degree of privacy, choose his or her ideal place to stay at the park and thus experience the surroundings optimally. By linking the holiday park, the surroundings and the regional facilities with each other, a sustainable recreational network is created, which is tailored to the experience of the holidaymaker.

New strategic networkGaasterland is, with all its contrasts, a unique densely-wooded coastal area in Friesland. The chosen location is located at the edge of the Rijsterbos country estate. These abandoned grounds surrounding the monumental villa have the potential to be used better. The new strategic network ensures that the location is interwoven, both visually and functionally, with the Rijsterbos country estate. The recreational network can be expanded simply in the future by linking both new and existing facilities and holiday accommodation with each other. Because the business owners focus on one specific facility, instead of an all-inclusive system, the quality of the network in strengthened and thus the (recreational) functioning of the surroundings.

DesignThere are no individual plots with private front garden and parking spot at Gaaster[land-goed]. The houses are positioned in so-called clusters, each with its own atmosphere and degree of privacy. In addition, the clusters make it possible to stay at the park both as a group and individually. In this respect, the plan caters for the current accommodation needs; people want to relax together, but are also fond of their own privacy. The chosen building method is inspired by a traditional construction principle, which has been frequently used in recreational building. The system is easily expandable and applicable on the basis of a basic principle. As a result of this, it can be tailored to a variety of uses and the specific location in an efficient way. The variety in terms of positioning, orientation and design gives the holidaymaker the opportunity to tailor their stay to personal preferences. Almost all (re)used materials come from the region.

Your own unique spot in the forest. Be amazed by the diverse landscape time and time again. Feel the atmosphere of the surroundings, even in your house; the view and materials from the forest. There is space between the houses to meet and come together, while there is also space to retreat near your house. Take off and explore the surroundings or read a book on your own veranda. Create your own type of stay within and in harmony with the surroundings.


Commission membersJeroen van Mechelen (mentor) Harm VeenenbosMachiel Spaan

Additional members for the examinationMarcel van der LubbeJan-Richard Kikkert

Alies KoreeGAASTER[LAND-GOED]Create your own type of stay, within and in harmony with the surroundings

49

Alies Koree

Overview park

Impression cluster on the canal

0 10 50m

Architecture

50

ingress of light

ingress of light

storage space

furniture

furniture

extension kitchen

hanging bedbedroom

view/light

veranda

tent (i/o)

outdoor shower

bed + view

ingress of light

balcony

terrace

roof terrace

boat house

veranda

casting jetty

outdoor pool

single-prop support

bench

see-saw

canopy

fireplace

balcony indoor

jetty

single-prop support

storage space

extension

wall (privacy)

jetty

seat

staircase

veranda

ingress of light

hammock

sunken

box bed

veranda view/light

Matrix typology: houses can simple be individually tailored to the surroundings and in relation to each other

Additions versus surroundings

w e

e

e

ss

w

ew

we

w

ss

s

s

ss

s

s

s

s

+

+

=

closed open internal

external

constructionprinciple fixed core

ground floor

ground floor

1st floor

1st floor

6p+

8p+

6p

4p

2p

Add trussed rafters(variation layout/capacity)

variation floor levelvariation facade openings

extensionconstruction

51

Overview detailed cluster

Rental scenario: individual Rental scenario: couple Rental scenario: entire cluster

Detail section Detailed example type 1: general

Alies Koree

p = 0

1200+

1800+

600-

600-

8

6

4 8privatetogethermeet

8

6

4 8

8

6

4 8

6-8

casting jetty ingress of light see-sawingress of light seat

Architecture

52

villa (1912)

villa: teahouse, hotel rooms

chapel: bathhouse

cellar area flat: swimming pool

new structure as connecting element

chapel (1929)

kitchen (1961)

flat (1968)

p = 0

p = 0

p = 0

p = 0

p = 0

1200+

1200+

1500+

Current situation: diverse building styles, lot of interference around villa, flat shares grounds in two parts

New situation: elements added in harmony with villa, villa visible again, villa as support of par

New location in the forest: space for new stories

Villa new significance in and for the surroundings

Impression natural swimming lake and bathhouse

53

Alies Koree

surroundings

New strategic network

park buildings

Connection with the surroundings

+ + =

Architecture

54

Re-Creation is the result of a design-based and evolving research, which strengthens and safeguards the cultural and economic landscape of the bulb-growing region (Bollenstreek).

The characteristic bulb farms of the Bollenstreek attract thousands of tourists to the region each year and belong to the branding of the Netherlands. The preservation of these cultivated lands is, therefore, of economic importance for the existence of the bulb industry and the tourist sector; the same tourist sector that wants to expand the possibility of recreational accommodation at the expense of the bulb farms.

The municipality of Noordwijk forms part of the bulb-growing region and is also one of the coastal towns of the Netherlands. This combination makes the municipality, especially in the summer months when the beach and bulb tourism coincide, an attractive place to relax. This applies both for day recreation, as well as recreation over several days for which various accommodation options are offered in Noordwijk, such as hotels, hostels and holiday parks.

The municipal policy on the development of recreation parks has already been liberalised, as a result of which the Noordwijk bulb growers are allowed to designate their farms as recreation parks. Looking at the current region with recreation parks, a framing and densification has arisen there with camp sites, chalets and holiday homes, which are totally not focused on improving the surroundings. Persisting with this idea will harm the cultural landscape, even though this landscape actually offers opportunities for a new impulse.

Based on a strong personal fascination for this cultural landscape, a solution is offered by preserving the existing accents and vistas. These should not, therefore, be framed, as is the case with the existing recreation parks, but there should instead be a transformation of the existing characteristic farmyard buildings. The greenhouses and sheds with their solid construction and natural climate control offer space for distinctive facilities in, and at the centre of, the landscape.

Through this intervention, the cultivated lands are given extra appeal, as a result of which the experience of the continually changing fields with their smells and colours, throughout the four seasons of the year, contribute to recreation in the region.


Commission membersDanielle HulsRik de VisserHarm Timmermans

Additional members for the examinationPaul de VroomMarcel van der Lubbe

Marco KramerRe-CreationAn intervention in the cultural landscape

55

Marco Kramer

Architecture

56

SANCTA MARIA

Gem

eent

egre

ns

Noor

dwijk

Noor

dwijk

erho

ut

N 2

06

PRIMAIRE WATERKERING (DUINEN)

DUINEN

BOLLENSTREEK NEDERLAND

BOS

OPPERVLAKTE WATER

BEBOUWING

REREATIE BEBOUWING

ANNO 1900ONTWIKKELING NOORDWIJK

NOORDWIJK

NOORDWIJK-BINNEN

NOORDWIJKERHOUT

VOORHOUT

DE ZILK

Noordwijk: Country houses by the rear dunes 1615

Transformation of four lots as an example

Noordwijk: Bulb farms after digging up rear dunes 1900

Huid

ige G

emee

nteg

rens

NOORDWIJKERHOUT

Noor

dwijk

Noor

dwijk

erho

ut

Langevelderslag

De h

ooge

veen

en

Duins

choo

tenDu

in


DUINEN


BOS

OPPERVLAKTE WATER

BEBOUWING

REREATIE BEBOUWING

ANNO 1615ONTWIKKELING NOORDWIJK

NOORDWIJK

Aerial photo plan area Future picture if going ahead with policy

57

Marco KramerPRIMAIRE WATERKERING (DUINEN)

DUINEN


BOS

OPPERVLAKTE WATER

BEBOUWING

KASSEN

HOTELS EN PARKENONTWIKKELING NOORDWIJK

REREATIE BEBOUWING

OOSTERDUINSE MEER

Noor

dwijk

N 2

06

SANCTA MARIA

NOORDWIJK

NOORDWIJK-BINNEN

NOORDWIJKERHOUT

VOORHOUT

DE ZILK

29 PARKEN2050 VERBLIJVEN

74 HOTELS1850 KAMERS


DUINEN


BOS

OPPERVLAKTE WATER

BEBOUWING

KASSEN

PLANGEBIEDONTWIKKELING NOORDWIJK

REREATIE BEBOUWING

OOSTERDUINSE MEER

Noor

dwijk

N 2

06

SANCTA MARIA

NOORDWIJK

NOORDWIJK-BINNEN

NOORDWIJKERHOUT

VOORHOUT

DE ZILK

NOORDWIJK NOORD

Noordwijk: Recreation parks at the bulb farms 2010

Plan of farm buildings Duinschooten

Noordwijk: Plan area

Urbanisation of holiday homes Parks without relationship to the surroundingsEnclaves turned in on themselves Blockades in sight and passageway

Architecture

58

Short-stay two-person room

Terrace restaurant on the field

Living space lodge

Public neighbourhood barn

59

Marco Kramer

Lodges in the greenhouse. Veranda where interaction with the semi-public inner garden is possible.

New connection between the farm buildings, as a result of which functions are linked

In the winter, the farm buildings offer protection and warmth.

Architecture

60

In my quest to create a modern monument I focused my research on the Stopera: an architectural phenomenon on the former island of Vlooienburg in the historical city centre of Amsterdam. The Stopera today combines the City Hall of Amsterdam and the Dutch National Opera & Ballet (stadhuis + opera). My ongoing quest transformed into a desire to end the current pejorative Stopera and to reveal the hidden monument in the Stopera complex, embedding it in the surrounding urban fabric.

This extensive research and analysis resulted in a clearly defined plea recorded in a 150 paged-book full of high quality illustrated analogies, metaphors, diagrams and drawings showing the potential of the existing Stopera. The book describes the spatial and symbolic relationship between several monuments of Amsterdam on different scales. The outcome is a high potential strategy to transform the 129,000m2 Stopera building into the new city centre for Amsterdam by using nearly 80% of the existing structure.

As an archaeologist and sculptor combined, Hein van Lieshout re-evaluated the Stopera, discovering, and freeing, the Houses of Apollo and Dionysus. As inter-related planets revolving around the sun, the new Amsterdam City Hall and National House for Opera and Ballet re-emerge as Siamese twins liberated. Embraced and re-designed, the House of Apollo and House of Dionysus redefine the heart of the city.

Hein van LieshoutThe New Dam & the liberation of the Stopera


Commission membersMachiel Spaan (mentor) Paul ToornendTom FrantzenPjotr Mller

Additional members for the examinationRik van DolderenJudith Korpershoek

0 5 25 50 100

N

zoektocht naar het monument in het gebouwDE STOPERA

0 5 25 50 100

N

DE STOPERA zoektocht naar het monument in het gebouw

0 5 25 50 100

N


0 5 25 50 100

N


Revaluation: phasing plan and the transformation through time

61

Hein van Lieshout

0 5 25 50 100

N

DE STOPERA zoektocht naar het monument in het gebouwDE NIEUWE DAM& DE BEVRIJDING VAN DE STOPERA

HET BETOOG VOOR

HEIN VAN LIESHOUTARCHITECTURALTHINGS

Cover design of book with the essential intervention to make a powerful ensemble

Revaluation: phasing plan and the transformation through time

Architecture

62

AMSTELZIJDE

BLAUWBRUG CORNER

METRO

MARKET SQUARE

Model scale 1:500

Vista with enlarged Waterlooplein, the Amstelzijde - beautiful spot in the Amstel river bend - and catering establishments on the Blauwbrug. The theatre forms the centrepiece.

Current situation Sculptural extension on the north side and Zwanenburgwal houses the demolished volume

63

Hein van Lieshout

existingA

newA

AMSTEL VIEW

ELEVATE VOLUME

CONTINUING PUBLIC DOMAIN

staircase

Vista: enlarged Waterlooplein (renamed Vlooyenburg) with view in the direction of the Amstel. To the right, the main entrance of the revamped City Hall

View of the Amstel with view of the public staircase that leads the Amsterdam citizen to the Tuin van Amsterdam (Garden of Amsterdam) and enables us to enjoy a stunning view over the city.

Sculptural extension on the north side and Zwanenburgwal houses the demolished volume Transformation in which the existing architectural idiom steers the intervention

Architecture

64

View from the Zwanenburgwal of the public corridor. The material refers to the Palace on the Dam.

The sculptural extension forms a public corridor along the Zwanenburgwal.

65

Hein van Lieshout

Vista: the building forms the centrepiece in the urban fabric of Amsterdam. The new facade forms a horizontal city in the Amstel river bend.

NAP

DNO

NAP

DNO

NAP

DNO

NAP

DNO

01 0302 04

extension

renovation new building

Current situation

Transformation: 95% of the theatre building is retained

Architecture

66

Elderly peopleBeing able to grow old in your own district. Staying in contact with your neighbours and your neighbourhood. That would appear to be a matter of course, but that is often not the case. This theme plays a major role in my graduation project. The project takes place in Centro Habana, a district in Havana, Cuba.

The district is very inspiring to me, because the inhabitants are continuously searching for space on different scale levels; space to make places. However, the district still lacks a number of places, such as a good place for elderly people to live, where they can also determine their position within the district themselves.

Centro HabanaCentro Habana is an urban district in Havana and has an extremely high population density, approximately 49,000 inhabitants per km2, and a low housing density. As a result of the lack of space, people live close together and a kind of pressure cooker effect has arisen. This has led to creative solutions by the residents themselves in the search for space. Space to make places. The intense lack of space and the social cohesion that this entails are very inspiring. As a result of the high population density in the existing housing and the lack of maintenance, buildings regularly collapse. This leads to empty spaces in the district. These spaces have also been taken over by residents over the course of time and are often used as a supplement to the public space.

MusicThe pressure cooker effect does not take place, however, on a cultural level. Cuban music culture has reached its peak, especially in Centro Habana. Many variations and new styles have been born, precisely because everyone lives so close together and everything belongs together. Music brings people together.

Space for a placeArchitecture can bring people together, can help bring about a meeting and can give space to people in order to make places for themselves. I made use of the opportunities that exist in the district in my graduation project. The (public) space and qualities that the empty plots offer, and the culture and skills of the people themselves in order for them to be able to give shape to their space. In addition, the relationship between the private domain and the public space is defined in such a way that there is a clear transition and the inhabitants always have a choice in terms of how far they want to enter into the public space.In order to maintain the public space on the plot, the building is raised. Shadow is thus created, which is so important in Cuba in order to create space for activities. The building has been designed in such a way that the initial situation of the buildings gives the resident the freedom to use the space according to his or her own needs. The private outdoor space is the key to this. This gives the building an excess area, as a result of which a choice can be made to partly or completely close this off, whereby another building is constantly created. The facades will constantly change due to this, the building will come to life and will increasingly belong to the context.


Commission membersBart Bulter (mentor) Judith KorpershoekJohanna van Doorn

Additional members for the examinationMarcel van der LubbeHerman Kerkdijk

Sjors OnneweerSpace for a placeAccommodation for the elderly in Havana, Cuba

67

Sjors Onneweer

Current accommodation for the elderly in Centro Habana

People on the street stay to watch a number of musicians who are making music

Example of self-made modifications to existing buildings.

2 ways of modifying, horizontal or vertical expansion.

Coln (district in Centro Habana). All the problems could be found most severely in Coln and it was, therefore, chosen as research area.The empty plots that arose over the course of time are highlighted in yellow.

A (partially) collapsed building

A hairdresser has found his own place on the corner of an empty plot.

A

B

Architecture

68

Concept: raising the programme in order to keep the ground level accessible as a public space. Dividing the mass into various volumes so that light and air can always enter inside. An access ramp which connects the various volumes with each other. The buildings for the elderly as close as possible to the public space.

Part of the balcony is closed off so that a 2 person bedroom is created.

Initial situation of the building, completely accessible for wheelchairs.

Initial situation building. There is an excess area vertically which offers the opportunity to make an extra floor.

Examples of facade details Development facade over the course of the years. The more people who expand, the more the facade will fit in with the context.

Part of the balcony is closed off so that the living room becomes larger.

Part of the balcony is closed off so that the living room becomes larger.

Private domain Collective places (Semi) Public space

Mixing target groups and adding an extra programme (music)

Design of relationship between building and public space

+

layer 2

Type 1

Type 2

layer 2

layer 1 layer 1

Type of building 1 Can be expanded horizontally in order to shape the building according to the wishes of the resident.Type of building 2 Can be expanded vertically in order to shape the building according to the wishes of the resident.

69

Sjors Onneweer

Section

Place on the ground level

Place along the route

Architecture

70

The facade is made up of an arrangement of slabs cast on site and floors against which a prefab exterior wall system is mounted, as a result of which a connection can be sought with the facade rhythms of the buildings from the context.

Identity and character is given to the various volumes by means of texture and colour.

Plants on the ground level lend it extra quality of space.

Layer 4 + 9m.

Layer 1 (Ground level)

Collective/Musical spaces

Public route

1. (existing) Vegetable market2. Place for the neighbourhood to meet each other3. (existing) Cafe4. Place for a hairdresser for example5. Open (semi-public) place where one can retreat6. Sheltered place where one is less visible7 music studio8 office9. Access from access ramp to 1st floor of

existing building10. End of access ramp, place to meet each other 11. Classroom (theory)12. Music studio13. Second communal kitchen

J

H

I

K

L

M

NO

13

10

9

12

11

5

4

1

2

2

6

7

3

8

Wind

71

Sjors Onneweer

(Scale model) Impression seen from the street

Architecture

72

Pairi Dza is a reflection of the necessary idyll and the desire to be able to count on each other To be able to live with each other. Caring with and for each other. From son to father. From boy next door to woman next door. From grandson to grandma.This assignment is fed by the nurturing upbringing that we received and will ultimately pass on ourselves. Just like love is passed on, caring for each other is also passed down from one generation to the next. It is an indirect inheritance, which is not written down on paper. The moment has now come in our lives that we are no longer a concern for our parents, but will take care of them and their concerns.

In the near future, our generation will have to deal with the consequences of old age. We, the children of our parents, are required to address these changes in the form of self-organised care - or: informal care. This assignment is focused on housing for the elderly, based on offering and accepting informal care. The question that is key to this is: How can architecture play a role in stimulating informal care? The point of departure is the theory that in order to stimulate informal care, the emphasis must not be placed on the care but on the housing: a unique form of housing that stimulates social interaction and relationships on various scales, and places the emphasis on closeness and a small scale. Above all, caring for each other can once again become something natural by mixing different generations.The transitions of the various scales play a large role; tangible transitions both in space and light, as well as in material and tectonics. The public space is used as an intermediary between the scales, offers space for social interaction and is the link between the scales: from neighbourhood to ensemble and from residential quarter to home and everything in between.

The homes and neighbourhood functions wall in the heart of the ensemble: a communal courtyard garden, inspired by the elements and contours of the Persian garden. The Persian garden is, in turn, inspired by Paradise. This is how Pairi Dza arose, the old Persian word for Paradise, or walled (pairi) space (diz).

An ensemble of 45 homes is created on the Zimmerterrein on the Bellamybuurt, divided across 5 residential quarters. They are placed in such a way that collective quarter gardens are formed, on which all front doors border. By keeping the routing, access and the distances between the front doors as short as possible, the social distance between the residents is reduced. The quarter garden will be collectively maintained per quarter, which stimulates collectivity and interaction.

The home is also approached as a transition from collective to private, whereby the public space is once again an intermediary. The public space is not used as outdoor space in this case, but is based on the traditional patio; the interspace that connects, opens up and brings together all the spaces in the residential space. This space is connected to the collective quarter garden, whereby the front door plays an important role. The front door as architectural element contributes to the transition of the different scales.


Commission membersJan-Richard Kikkert (mentor) Machiel SpaanFurkan Kse

Additional members for the examinationPeter DefescheMicha de Haas

Milad PalleshPairi DzaAn ensemble where we, our parents and our children live with each other and can care for each other

73

Milad Pallesh

Architecture

74

In the courtyard garden, from the seated square View of water and seated elements, the shrubs, fruit trees and ornamental trees

Fragment public space - transitions and materialisation Fragment facade - materialisation, tectonics and sculpture

From the Kostverlorenvaart canal View of Schimmelstraat, promenade and garden wallScale model ensemble 1:200

75

Milad Pallesh

Zoning map

Architecture

76

Section - Residential quarter

In the quarter garden

77

Milad Pallesh

In the home, from the patio View of the quarter garden

Plan home 1 (75 m2) Plan home 2 (73 m2)

Architecture

78

The churches are emptying. However, the church community In Utrecht Tolsteeg is an exception to this. As a young, growing church community, they are seeking out a new position in society. In fact, they want to be more open to fellow human beings. They come together more often than Sundays alone and through various activities, such as eating together with people from the neighbourhood. Nevertheless, the importance of contemplation and sacramental preparation remains.

How can the church community strengthen its connection with fellow human beings and the immediate environment by means of a building?

Position of the churchA location for a health centre in the district has been sought for many years now. The most recent plans did not go ahead as a result of the crisis. The church community can find a place for the health centre that responds to the current changes in a society where the notion of care has become less natural. As a result of this, the community can play a clear role in caring for people, even if it is merely a passive cooperation. The church can become a building (as in earlier times) where belief and health will converge once again and be able to reinforce each other.

This assignment is a response to the current demand for participation in the healthcare sector. The assignment is especially interesting because a short study revealed that people do not want to be confronted with a church when they go to a doctor.

Connection and mediationThe connection between the church and healthcare can be found in the character of the corridors. The building emphasises the symbolism of being in transit in life. The juxtaposition of belief and health sheds new light on the healthcare sector.

The two strong corridors, designed as a fissure in a mass, give a sense of character to the route, and in this way the visitor can find his or her way to the difficult conversation with the doctor, or the festive gathering of a wedding. The fissures mediate between what can normally not simply be next to each other and ensures there is a gentle transition. There are three courtyards which enable mediation and connection between the church and healthcare. Through the intervention of courtyards, nature is brought inside, private space created as open spots for the visitor. They are structured through the fissures. A classical approach to typologies lends each courtyard its own character.

All visitors will have a need for contemplation from time to time and this building offers considerable scope for that. That is possible in this building in different forms, made accessible and available to everyone without having to be a member of a church. This is even more the case if someone is having a difficult time. This building therefore has a unique and strong social and societal function.


Commission membersChris Scheen (mentor) Bart BulterDick Pouderoyen

Additional members for the examinationIra KoersJan-Richard Kikkert

Jeroen SchootsBelieve in healthA building for church and healthcare

79

Jeroen Schoots

Architecture

80

draft divide

situation

functions

doctor

church

physiotherapist

communalspaces

pharmacy

supporting

Dutch Mental Healthcare

Association (GGZ)

church in the green space

church and healthcare next to each other

church and healthcare together

1. gateway 2. filter 3. fissure 4. walls believe in health

glass roof

brickworkStack bond

courtyard

grass roof

waiting location

Dutch Mental

Healthcare Association

(GGZ)

doctor

concrete

draft building

emphasises the horizontal divides

brickworkhalf-brick

concreteplanks relief

wooden facadevarnished oak

brickworkstack bond

add an extension in simple brickwork

divides with subtle vertical lines

soften the transition to the courtyards

levels of mediation

new situation

wooden facade

81

Jeroen Schoots

situation

new situation

section silent courtyard

longitudinal section

section herb courtyard

Architecture

82

church entrance church hall

green space entrance

city entrance

doctors entrance doctors wing pharmacy/physiotherapy practice wing

83

Jeroen Schoots

herb courtyard

silent courtyard

Architecture

84

In the current society, there is an increasing need for a healthy and sustainable lifestyle. Sport is an important part of this. Sport is healthy for body and mind. Sport breaks down barriers between people, brings people together and provides energy.

Fitness training has now become the most frequently practised sport in the Netherlands. The budget sport schools are sprouting up everywhere and the parks are increasingly filled with sporty people. In spite of these trends, it remains difficult for many people to find the motivation to keep active and to be energy-conscious. In addition, physical interaction is decreasing due to the rise of digital social media.

Sport is particularly suitable for connecting social and physical aspects. Moreover, architecture can combine the spatial qualities of a park, the facilities of a fitness gym and sustainable techniques with each other.

On the basis of a fascination for sport, redesignation and sustainability, I went in search of a contemporary architectural solution for a dynamic sports centre where the facets of a park and a fitness gym can be combined. A place with facilities where people from the surrounding area are invited to exercise, provide energy and come together.

The former power station on the Hoogte Kadijk in Amsterdam was chosen as location, which can be found at a junction between various districts. The House of Power will become the link between the various sections of the local community and will become a public place where each individual sportsman or sportswoman can enter without restrictions.

The old power station will once again produce energy, generated among other things by the activities of the sportsmen or sportswomen themselves. In addition to passive energy generation, the building will generate energy and the surplus electricity will light up the approach routes around the building.

Powered by the people, power for the people!Social energy will also be generated. Both the building and the public space will be transformed into a sports centre and will function as an attraction for the surrounding districts. During the transformation, the building will retain its rawness and architectural historical value. The hidden location of the current building will become recognisable as a result of a new principle building and thus provide optimal access for the sportsmen and sportswomen.

The programme is based on the balance with which a sportsman or sportswomen can perform optimally. A mix between exertion, relaxation, nourishment and mindset. Each programme component has its own spatial and architectural identity. The building will be organised through a composition of routes, spaces and volumes. There are places to exercise actively, places to recuperate, places to produce oxygen and food, and places to focus oneself. The visitor will feel as if he or she is in a three-dimensional park, where one can find a good balance of sports and whereby the building will behave as a motor for its environment.


Commission membersGianni Cito (mentor) Marcel van der LubbeMarijn Emanuel

Additional members for the examinationRik van DolderenJudith Korpershoek

Mark SpijkermanHouse of PowerThe transformation of a former power station into dynamic sports centre

85

Mark Spijkerman

Architecture

86

junction of districts and sections of the local community.

eastern entrance, literally without restrictions for entering

longitudinal section

sport as connection

transformation of closed factory to public sports building transformation with new principle building and sports square

87

Mark Spijkerman

mindset

food

relaxation

exertion

House of Power, the place where one can get energy and which provides energy to light up the streets

ENERGY BALANCE

+18,000KWH/YEAR

Architecture

88

entrance exercise zone, with overview and dynamism

food and relaxation, above the new principle building

scale model exterior

89

Mark Spijkerman

mindset, in the ridge between the existing rafters

scale model interior

entrance relaxation zone, with connecting strip on the southern side

Architecture

90

Can architecture, in combination with the city, make a positive contribution to the rehabilitation process of a spinal cord lesion patient?

Health careThe influence of the environment on the recovery process is discussed within the public health sector with increasing frequency. A role which has become smaller over time due to the development of modern medical science.

The focus is on the practicability of a building; architecture as a tool serving medicine. The rationalisation of healthcare and the international shift in the perception of disease have caused a change in this mentatility to come to light. Today, the matter is not limited to healing the human body, it also deals with the relationship between people and their environment. In my graduation project, I play into this shift. The person, the patient is central in the design.

DesignThe rehabilitation centre consists of four different volumes. These volumes relate to the various psychological phases a patient goes through after a trauma. The positioning of the volumes and the relationship it creates with the city and the city-dwellers, also relates to this.

The volumes function as separate building components but together they function as one complex. A three-dimensional web.The loop, connects the different volumes. This web penetrates the volumes and are, in addition to a connecting route, also a component of the rehabilitation programme. The loop also generates interaction and meetings with the city and the city-dwellers.

The city and the architecture have been deployed to support and, where possible, accelerate the recovery process of the spinal cord lesion patient. This has led to a new kind of rehabilitation; the entire builidng revolves around rehabilitation. The city connects to this web and offers a programme to facilitate reintegration into society.


Commission membersMarcel van der Lubbe Ed. BijmanRob Aben

Additional members for the examinationMachiel SpaanRik van Dolderen

Marijke van SuijdamThe loopA rehabilitation centre for spinal cord lesion patients in the city of Utrecht

91

Marijke van Suijdam

Architecture

92

Building block in the city of Utrecht Building block level Buildings to demolish New situation

City as scenery Edges of the building block Buildings to demolish Internal area in building block

Moving in public space Obstacles in the city Traveling by public transport Using facilities

The square which embeds the rehabilitation centre in the city

93

Marijke van Suijdam

The model of Kerr (1976). which discusses phases/stages in the rehabilitation process. The model of Kerr translated to the city and building level

Four different building volumes

The loop penetrates the building volumes - The loop is extravert

Connecting the building volumes for efficiency Connection by threedimensional webThe loop

Cutting up nursing ward into three different departments, causing the building to become a supporting element in rehabilitation and the psychological process.

Programme components have been designed as mass - programme components are introvert

Architecture

94

95

Marijke van Suijdam

The loop - supporting programme

The loop - exercise and sports

The loop - healing environment

Architecture

96

This design proposal was made for the medical faculty (MF) in Santariskes, Vilnius. At the moment, the MF doesnt have well-designed spaces that fulfil their requirements. A new platform for science was established. The design of the MF was done in such a way that it should be inspirational and serve as a meeting place for students and professionals, locals and visitors. The location of the medical campus Santariskes, in the north of Vilnius was chosen. I have attempted to create a medical hub with a variety of participants: education, research, private businesses, residential areas. More diverse functions brings quality for the existing campus.

CampusThe most problematic aspects of the campus are that: the central zone is crowded with cars, as it has only one street for all traffic, parking spaces are dominating the area and green zones, there is no proper place for the public needs, it is monofunctional and there is no overall idea of greenery. Design solutions include: a new transport network, new parking structure, bringing greenery back to the heart of the campus, a place for a public programme, residential zone for various users, MF (science future) in the heart of campus.

Building complexThe profile of the building is designed as narrowly as possible. In this way, more space is left for the greenery. The main body is lifted, preserving the visual or physical continuity of the area. On the ground floor, the space for public use has been designed that focuses on the greenery.

Departments are placed on one continuous line, as it is important to have interaction between them. Everything is framed by circulation space on top. In this way, it is involved more in the activity of the area. Each department has its own zone and, at the same time ,is integrated in the whole structure. Two main floors are underpinned by the continuous sequence of the stairs. The main programme and zone is for labs, which are designed on one side of the volume. Small offices are located on the other side. They are narrow, although very much orientated to the greenery outside. The middle zone is open through all floors and has light from above.

The auditorium zone becomes the main entrance of the complex. The building is established on the ground level in two transparent volumes. One of them is main entrance to the MF cafeteria, another one is an entrance to the conference centre. Two strips of different faculties are united here. The ground level is connected by two lines of stairs with the top level. In the middle of this zone, the local library is hanging. It is an open and informal space which has visual and physical connection with all the area.

The most important aspects that were used for building design:The shape (expression) of the building itself is not important, but what is happening in it;Research / learning - provide required instruments and well organised function;Meeting / interaction - circulation space visually / physically connected to all areas;One continuous flow - no dark corridors / open dynamic continuous space;Quality of space - visual relation with outside in circulation and working areas and visa versa.

The colour white has been chosen. Platform for science as a blank piece of paper, where all the magic happens.


Commission membersLaurens Jan ten Kate (mentor) Jo BarnettRen BoumanHolger Gladys

Additional members for the examinationMadeleine MaaskantMarc a Campo

Egle SuminskaitePlatform for scienceMedical faculty in Santariskes, Vilnius

97

Egle Suminskaite

Architecture

98

NEW: Creating street network (removing old)

New campus site plan

Public / residential functions in the campus Medical faculty at the heart of the campus

EXISTING: Campus heart crowded by traffic Lack of overall landscape designParking spaces are dominating the area

Public transport and parking solutions

Monofunctionality (only hospitals)

99

Egle Suminskaite

View from the top circulation space

Principles of space organisation

Area that unites campus Position of the entrances Approaches. Coming to MF by car Approaches. Coming to MF by public transport

Profile of the building

Public space on the ground floor

TECHNICAL FLOOR

STORAGE/ SUPPORT FUNCTIONS

STUDYCIRCULATION FLOOR

PUBLIC

CO

RE

CO

RE

CO

RE

CO

RE

Architecture

100

Programme / space organisation in department zones

Site plan

Section of department area

Longitudinal section/elevation

RESEARCH LABS

TEACHING LABS

ADMINISTRATION

SEMINAR ROOMS

MEETING ROOMS

INDIVIDUAL WORK SPACE

PAPER WORK SPACE FOR SCIENTISTS,PHD STUDENTS

WRITE UP ZONE

PUBLIC PUBLIC


TECHNICAL FLOOR

CIRCULATION FLOOR CIRCULATION FLOOR

HANGING OUT ZONE

PUBLIC

CIRCULATION FLOOR

RESEARCH LABS

TEACHING LABS

ADMINISTRATION

SEMINAR ROOMS

MEETING ROOMS


PAPER WORK SPACE FOR SCIENTISTS,PHD STUDENTS

WRITE UP ZONE

PUBLIC PUBLIC


TECHNICAL FLOOR

CIRCULATION FLOOR CIRCULATION FLOOR

HANGING OUT ZONE

PUBLIC

CIRCULATION FLOOR

101

Egle Suminskaite

Programme/ space organisation in auditorium zone

Section of auditorium zone /main entrance zone

SEMINAR ROOMS

GARDEROBE/ SUPPORT FUNCTIONS

ADMINISTRATION

LIBRARY


ENTRANCE CONFERENCEPUBLIC

CAFESTORAGE/ SUPPORT FUNCTIONS

TECHNICAL FLOOR

CIRCULATION FLOOR

ENTRANCE MF

Architecture

102

This project looks at the U.K. housing crisis through the lens of a proposal for the redevelopment of Sheepscar, a post-industrial neighbourhood in the city of Leeds.

Leeds like the rest of the United Kingdom is currently facing a housing crisis on two fundamental levels: demand for housing far exceeds supply and the new houses that are built do not meet the demands of the majority of the people who would inhabit them. The council currently has plans to build 70,000 new homes in the city in the next 15 years, the largest number outside London and the south east. This has the potential to shape the city for future generations but at present there isnt a clear vision of where these new houses should be built and what form they should take.

Currently, new housing in the city falls broadly into two categories: large scale city centre apartment blocks or single family developer housing built on the outskirts of the city. As a post-industrial city which saw large scale demolition of workers housing and unused industrial buildings in the 1950s and 60s, much of the inner city neighbourhoods remain undeveloped. As an alternative to the creation of more isolated, monofunctional housing areas on the periphery, I have explored how Sheepscar, one such area located within short walking distance of the city centre could be redeveloped into a new urban neighborhood which combines opportunities for living and working in one place.

The project consists of two main elements: an urban plan and a series of sub-projects: building and landscape types which inhabit specific parts of the structure.

The approach adopted seeks to reveal the latent potential of the area, carefully uncovering its most distinctive elements and using them as the centre of the new urban structure. The central area of the neighbourhood maintains its role as the working heart through the retention and refurbishment of the most significant industrial buildings but is refined through the introduction of a series of new buildings which introduce dwellings creating a series of ensembles that combine new and old. The proposal celebrates the informality of the spaces created between these retained buildings and transforms them into a variety of public spaces. The core of the plan is framed by a new urban block structure which is carefully arranged to create a series of connections into the public spaces.

A family of building types are proposed including houses and apartments which engage with a series of specific urban conditions. The buildings share a robust formal and material language which aims to create a distinctive character for the reimagined neighbourhood.


Commission membersHans van der Heijden (mentor) Peter DefescheJob Floris

Additional members for the examinationPaul de VroomBastiaan Jongerius

Giles TownshendReimagining SheepscarTransforming a post-industrial area in Leeds into a new neighbourhood

103

Giles Townshend

Architecture

104

Context plan

Urban model

Urban strategy Existing industrial buildings to be retained and integrated into new ensembles

A sequence of neighbourhoods Sheepscar as found

105

Giles Townshend

New apartment building with public ground floor next to refurbished sheds: living and working placed casually next to each other

A family of types: an example of some of the new buildings introduced into the neighbourhood

Mews houses street elevation

Architecture

106

Bus depot ensemble

Factory ensemble

107

Giles Townshend

Refurbished bus depot with new extension, a dialogue between new and old.

Architecture

108

IntroductionI live in a village without a cemetery. Swifterbant is located within the Dutch municipality of Dronten in Oostelijk Flevoland. Although a cemetery was deemed necessary within the borders of the village when Swifterbant was established, this was never realised. We are a community without a place for the dead; a place to commemorate and a place that reflects the history of a community. Swifterbant is a village in which you can live, but cannot be dead. The contrast with my country of birth, Tanzania, could not be greater. As a child, I grew up next to a cem

graduations publication 2014-2015

Documents