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media kitpantheon//
inhoud
3 // architectuurblad door studenten4 // lezerspubliek6 // over pantheon//8 // advertenties op maat10 // advertorials12 // contact redactie
Omslag // inside the pantheon, still a functioning church, fotografie door William BerezaInhoudsopgave // Grande-Duchesse Joséphine-Charlotte Concert Hall, fotografie door Danny Fowler
3p a n t h e o n / / m e d i a k i t 2 0 1 3
Er schijnt een schifting plaats te vinden in de
wereld van architectuurstudenten, zij die door
hun studie heenwandelen zonder om zich
heen te kijken en zij die zich actief mengen in
het huidige debat. De laatste groep is echter
verspreid en heeft van zichzelf geen gebun-
delde stem. Hierdoor gaat een hoop kwalitief,
verrassend en interessant werk onopgemerkt
voorbij aan de rest van de architectuurwereld.
Gemaakt door serieuze studenten, zoekt de
pantheon// zijn ethos in een kritische bena-
dering. Terugverlangend naar een tijd waarin
ontwerpen intellectueel werden uitgeplozen
tot hun essentie en niet gemeten langs de gel-
delijke opbrengst of de meest grafische indruk.
Een blad dat een doorsnede vormt van wat
er zich op en buiten de faculteit bouwkunde
van de TU Delft afspeelt. Maar echter kritisch
genoeg om regelmatig een kijkje buiten de
faculteit te nemen.
De pantheon// is een tweemaandelijks perio-
diek van stylos met vakgerelateerde artikelen,
architectuurblad door studenten
interviews van binnen en buiten de faculteit
en verslaglegging van de activiteiten die stylos
onderneemt. De pantheon//, gedrukt in een
oplage van 2400 stuks op 100% gerecycled
papier, wordt verspreid onder stylosleden, do-
nateurs, sponsoren, architecten en verkocht in
de stylos bookshop en bij NAi Boekverkopers.
Studenten zijn als geen ander in staat om
nieuwe geluiden op te pikken, hier wat mee
te doen of zelf iets te ondernemen. Zoals veel
ontwerpers informeren ze zich door middel
van tijdschriften, volgen blogs en met hun
eigen ogen tijdens excursies en exposities.
Hierdoor is er een constante reflectie op
wat er om hen heen gebeurt en weten ze
wat de omgeving maakt of breekt. Deze
mensen hebben de mogelijkheid de wereld te
veranderen. Waarom moet u gezien worden
in de pantheon//? Omdat de pantheon// een
hoogwaardige studentenpublicatie is die uw
bedrijf of merk elegant en intelligent over
kan laten komen. De studenten van nu zijn de
architecten van de toekomst.//
‘De studenten van nu zijn de architecten van de toekomst.’
Joris Hoogeboom
4 p a n t h e o n / / m e d i a k i t 2 0 1 3
informatie afkomstig van issuu statistieken
lezerspubliek
bedrijven 6%
instituten 4%
architecten 4%
studenten 86%
druk oplage: 2600
Door wie wordt de gedrukte pantheon// gelezen?
pantheon// wordt wereldwijd online gelezenrepresentatieve editie (pantheon// 2008 - avontuur)
unieke pageviews: 22465
totaal aantal lezers: 3635
50 %
25 %
20 %
5 %
foto // Jon Lucas, gepubliceerd in artikel run free, pantheon// #3 - 2010
6 p a n t h e o n / / m e d i a k i t 2 0 1 3
over pantheon//
stylosDe verslaglegging van de verbredende en
verdiepende activiteiten van de overkoepe-
lende organisatie.
stylos // thema // algemeen
architectuur thematiekActuele maar ook herinterpretaties van archi-
tectuurthema’s door middel van interviews,
essays, artikels en beschouwingen.
stylos // thema // algemeen
6 s t y l o s / / k u n s t / / a l g e m e e n
The Masterclass committee invited Luxembourg architect and urban designer Rob Krier for the third installment of the Stylos Masterclass. Before the start of the accompanying symposium ‘Composing Urban Space’, pantheon// committee 2011 had the chance to sit down with him about his work, tradition and modernism.
Jurgen Beliën
interview with Rob Krier
You seem to be quite active in the Netherlands,
with projects in Amsterdam, Almere, The
Hague, Helmond and Beverwijk. In your book
Town Spaces you write that developers here
have had much success with your designs.
Is there a reason Krier Kohl Architekten is so
active in the Netherlands?
The success does not come with the promoters,
but through the buyers of the houses. For
example, I started a design in Helmond, and at
the same time Teun Koolhaas, a cousin of Rem,
was responsible for a bigger area for about
20,000 people, close to Eindhoven. We had
a parallel presentation at Piet Blom’s theatre
in Helmond, in front of a major public, at the
beginning of our design. Teun had 150 meter
long row houses, all black and white, extremely
radical, without any idea about an urban space
in between. And all the things identical, just like
machines, while in the mean time, the Vinex
locations in the Netherlands had this kind of
variety with for instance the inclination of the
roofs. The trick is to �nd with the budget of
low-cost housing a di�erentiation of houses.
What I proposed in Helmond, with support
of the mayor, was to invite young architects,
maximum 45 years old, to a private competition
on the site. We selected 12 di�erent young guys,
and everyone made a design for a house. Then
we decided as a team with all the maquettes
together how it could work. This was just for
the �rst block. The promoter had no idea if this
could be a good product for the market, because
a city centre with only row houses and where the
streets are continuous and have a maximum of
14 meters with trees and parking, that wasn’t
done before. Not even in new Vinex locations,
where a lot of streets are cul-de-sacs. During
a building material exposition in Eindhoven,
in a industrial hall, they made 1:1 prints of the
designs of the houses on panels. When standing
there, you got the impression you were standing
on a piazza. On the ground �oor of the houses
they opened bars, butcher shops and bakeries
and so on. During three weeks they had this
arti�cial scenario, showing a piazza, and the
people could see the maquettes. My students
in Vienna built a model on the same theme of
�ve by �ve meters, in the scale 1:100. Everybody
had the impression that that was an existing
plan, and people asked what the prices where
for the houses, while those were student works.
After these three weeks, we had 700 candidates
who wanted to buy a house in that �rst building
block in Brandevoort of 70 house. That was a
success. And of course, immediately after that,
the second block was designed. It is the same
as having a bakery, and people line up every
morning because you the best product. That’s
the only mystery behind it. Of course we made
the ground �oors high enough, so people could
convert them into shops, which happened
immediately.
The last sentence of the introduction of Town
Spaces reads: “We are on such a lonely guard
duty with the defence of traditional urban
design that I �nd it is a wonder that in the
Netherlands of all places, one of the most
progressive and modern countries in Europe,
this theme is not only openly and seriously
discussed, but also put to the test.” Why might
this be?
That is your culture, you are trained over
centuries to be open-minded. You accept
di�erent philosophies, di�erent ideas, and you
can live together with them. The Germans are
so radical. The Dutch were seafaring people and
being tolerant was good for them. But I have to
add something. Some weeks ago we came from
Mexico, and I have never seen a city like Mexico
City with such a modern, popular tradition. A
tradition according to De Stijl and Bauhaus. In
the �fties, the �rst houses were done by a not
so known collaborator of Le Corbusier. He came
back home and built this house for a painter
Riviera. Those houses were the �rst absolute
modern houses, and they were very successful.
More successful than even in the Netherlands,
there is no neighbourhood where you can
refer to The Style, only some lost buildings
somewhere. That means that if you touch
tradition, it could also be modern tradition. It
could even be your tradition in Mexico!
Your work comprises both urban intervention
in old cities as well as designs for new towns,
like Brandevoort. How do these types of
projects di�er from one another, and what
role does history play in the two?
There is no di�erence. There might be di�erent
practical problems, but the theoretical approach
is the same. Of course in new towns, you could
never refer directly to an old city. You would
build normal Dutch houses, with normal
staircases. The Dutch accept a house that is
4.50 meters wide, 6.20 meters is the maximum.
While in Luxembourg a house must be at least
12 meters wide. I made in Amersfoort a block
with single family houses, all 4.50 meters wide
and 4 �oors high. This typology works better
in your country because you’re use to living
a little ‘tighter’ together. In Brandevoort, the
houses were seen as being typical Dutch and
not as an abstract product that could have been
built in Atlanta or Las Vegas. I told those young
‘We had 700 candidates who wanted to buy a house in that �rst building block in Brandevoort of 70 houses.’
7s t y l o s / / k u n s t / / a l g e m e e n
architects to be Dutch, as Dutch as they could
be. They came from the Bossche School, we had
even one of the relatives of Dom Hans van der
Laan. By the way, he was not even the best one.
Looking at some of your projects in the
Netherlands, a ‘traditionalist’ language is
carried over from the urban design to the
architectural design. What would happen for
instance in the Resident, if the architecture
were ‘modern’? Would it have the same spatial
effect, or is the traditionalist architectural
vocabulary a prerequisite?
Well, if you have three times as much money,
you could do modern façades. At that time, in
the eighties, we tried to make the windows a
maximum percentage of the façade, because
of the insulation. Nowadays, people again
make huge glass windows and want to use
solar energy that way, while that would never
function. Of course, sunlight through the
façade will bring some heat in, but when? In the
summer! Another example, in Amsterdam, on
these new harbour islands like Java Island, there
is one area with single family houses. And these
house are a million or more, while our houses are
between 250 and 350 thousand euros. That’s the
di�erence, if you want to do it good. Of course,
modern design with bad detailing doesn’t bring
anything, then we fall back to the quality of the
�fties or sixties.
Current buzzword at our faculty seems to be
complexity, as a potential answer to �exibility.
Basing your design on as much information
as possible should guarantee a better design
solution, while at the same time legitimising
non-regular forms . How do you see this?
It seems like a revival of the sixties, when I was
young. It will pass very quick. You can only do
these fantasies if you have a lot of money. Take
your bedroom and try to be flexible in your
cupboard or bed! There is no need for high
complexity and �exibility. Even if Zaha Hadid
makes beds with slippery forms. In my book
about architectural composition, I constantly
showed my students the parallel evolution of
regular and non-regular forms, but never a
cultural highlight came out of an non-regular
system. Those projects can’t be used by
teaching, because you can do anything if you
can pay for it. Of course, if you have the money,
the social environment and the client, do it. It
happened once with Gehry’s architecture in
Bilbao. But a second time in Denver with Daniel
Libeskind, it didn’t happen. That museum turned
out to be a �op.
Another example is the cinema by Coop
Himmelb(l)au in Dresden. Wolf Prix is a good
friend of mine, but that cinema in a city like
Dresden is such an idiot import from Austria. It’s
a persi�age of the dramatic cultural situation of
that destroyed city. I think it is even a cultural
o�ence. I could not be so super�cial to bring that
kind of stu� to that destroyed city. Es stehen dir
die haare zu bergen. You could do such a personal
reaction in an art installation, or a painting, but
we have a very strong responsibility in our job.
We should ask ourselves “could this be
something that people can built upon for
centuries and centuries?”. This is what happened
with Classical architecture. The Greek temple
was re�ned and evolved over thousand years.
They concentrated on the quality of a column,
which had to be so unbelievably complex,
‘Well, if you have three times as much money, you could do modern façades.’
geometrically speaking as well as technically
speaking. I had a professor who taught us over
two years about how the columns are inclined.
We were twenty years old at the time and we
all thought the guy was a freak. Ten years later, I
understood what he was talking about.//
>> This interview took place on 2 December 2010>> Image by Kramer + Giogoli Photodesign
De pantheon// bestaat uit 3 hoofdonderdelen: stylos, thema, algemeen waarin binnen het
algemene een aantal terugkerende rubrieken zijn.
14 s t y l o s / / l o s i n g g r o u n d / / a l g e m e e n
The rise of the internet might have changed our lives forever, but what can we learn from history in order to better understand the changes that occur in our online life?
Jurgen Beliën
public life, privatized
We seem to have come a long way, and the
twenty-first century seems to have firmly
manifested itself as the century of the true
bottom-up democracy. We feel we can say
anything, share anything, do anything online.
However, considering the tools we are using that
accommodate this behaviour, are we really that
free? What can we learn from our past to better
understand our behaviour?
The forming of modern public life
The form of public life known to us now came
from the eighteenth century, formed by the
rising of the bourgeoisie and the decline of
the aristocracy. This process was particularly
apparent in the two biggest western cities at
that time, Paris and London (Sennett, 1992, p.48).
During this period both cities began to see a rise
in the growth of its population, due to external
migration. This migration flow consisted of
mostly young people, moving to the city alone,
breaking family ties in the process. Adding
to this the disappearance of guilds, and the
complete redistribution of living environments
due to the population growth, where a person
came from, where he or she lived and what his
or her profession was, disappeared as grounds
to ‘classify’ others.
“The material conditions of life in the city
weakened any trust people could place in
the ‘natural,’ routine labeling of others by
origin, family background, or occupation.” (Sennett, 1992, p.60)
The emergence of ‘strangers’ affected how
people met and interacted in public. It created
the need to present oneself, for instance with
clothing:
“What makes 18th Century street wear
fascinating is that even in less extreme
cases, where the disparity between
traditional clothes and new material
conditions had not forced someone into
an act of impersonation, where instead he
wore clothes which reasonably accurately
reflected who he was, the same sense of
costume and convention was present. At
home, one’s clothes suited one’s body
and its needs; on the street, one stepped
into clothes whose purpose was to make
it possible for other people to act as if they
knew who you were.” (Sennett, 1992, p.67-68)
Of course, most important to comparing eight-
eenth century public life with our contemporary
social behaviour online, is speech. Ironically,
the place for people to gather ceased to be
the square.
“The medieval and Renaissance squares
were free zones in Paris, as opposed to the
controlled zone of the house. The monu-
mental squares of the early 18th Century,
in restructuring the massing of population
in the city, restructured the function of the
crowd as well, for it changed the freedom
with which people might congregate.
The assemblage of a crowd became a
specialized activity; it occurred in three
places—the cafe, the pedestrian park, and
the theater.” (Sennett, 1992, p.54)
Interestingly, two out of three places that did
accommodate the gathering of people specified
by Sennett are actually privately run establish-
ments. The result is that the operator of the
establishment could set rules of conduct and
was free to deny patrons access.
“As information centers, the coffeehouses
naturally were places in which speech
flourished. When a man entered the door,
he went first to the bar, paid a penny,
was told, if he had not been to the place
before, what the rules of the house were
[...], and then sat down to enjoy himself.
That in turn was a matter of talking to other
people, and the talk was governed by a
cardinal rule: in order for information to
be as full as possible, distinctions of rank
were temporarily suspended; anyone
sitting in the coffeehouse had a right
to talk to anyone else, to enter into any
conversation, whether he knew the other
people or not.” (Sennett, 1992, p.81)
Apparently, the coffeehouses were acting as a
social leveller.
Later on, in the middle of the eighteenth century,
the mix between people from different social
standing took place in the public park. And
with that, the explicit rules of the coffeehouse
disappeared. The rules of conduct were the
implicit rules of social conduct.
“Taking walks in the park became in turn
the means of maintaining, en masse, that
sociability between classes which the
coffeehouses had formerly provided.” (Sennett, 1992, p.85)
The promise of the internet
The arrival of the World Wide Web early nine-
ties gave everyone the possibility present
themselves to (and share their opinions with)
the rest of the world, granted they had the
technical knowledge. It gave people the chance
to form a new public life, a new public facet of
their own self. The technologies making this
possible were the protocols that served as the
foundation of the internet itself. By design, these
protocols were non-excluding, open means to
communicate with others.
Where a person came from, where he or she lived and what his or her profession was, disappeared as grounds to ‘classify’ others.
15s t y l o s / / l o s i n g g r o u n d / / a l g e m e e n
Much like eighteenth century Paris and London,
people willingly entering the new social dimen-
sion created by the internet, suddenly had to
deal with ‘strangers’, whose exact personality,
heritage or profession were unknown. Again,
like in the eighteenth century this also gave the
people the opportunity to create a new self, an
avatar. People could choose how to specifically
represent themselves. Of course, this was only
the beginning.
The potential of the internet, and it’s prospective
effect on public life is perhaps best shown in
the film We Live in Public (2009). Filmmaker Ondi
Timoner followed internet entrepreneur Josh
Harris and his projects over the course of ten
years. One of these projects, called Quiet, con-
sisted of one hundred people living together in
a bunker converted into a capsule hotel. None
of the ‘rooms’ had doors, but every single one of
them was equipped with a video camera filming
constantly and a television that made the video
feeds from every room available to everyone.
These video feeds were also made public on the
internet. Everything the people in Quiet did was
public. With this experiment Josh Harris tried to
show that people are willing to give up privacy
for public exposure and more specifically fame.
He argued that in the future almost everyone
will make this choice, and he was right.
Fast forward to 2011. The prerequisite of
technical knowledge has disappeared. Sharing
with the rest of the world, by means of status
updates on Facebook and tweets on Twitter, has
become a reflex. The trade-off however is that
our online social life has grown dependent on
privately run corporations, instead of the open
protocols of the beginning of the internet. We
are in a sense trapped, forced to use the social
Sources:
>> Facebook. (2010). Statement of Rights and Responsi-bilities. http://www.facebook.com/terms.php. Last accessed: 11 March 2011.>> Paul, Ryan. (2011). Twitter tells third-party devs to stop making Twitter client apps. http://arstechnica.com/software/news/2011/03/twitter-tells-third-party-devs-to-stop-making-twitter-client-apps.ars. Last accessed: 12 March 2011>> Sennett, Richard. (1992). The Fall of Public Man. London: W.W. Norton & Company, Ltd.>> We Live in Public. (2009). Motion Picture. Interloper Films / Pawn Shop Creatives.
networking platform our ‘target audience’ is
using. Moreover, much like eighteenth century
coffeehouses, these corporations are free to
set rules and terms of use. Facebook (2010) for
instance specifies in its Statement of Rights and
Responsibilities that convicted sex offenders are
barred from signing up to Facebook. And Twitter
now tries to ban others from creating software
to interact with the service, reversing its stance
on third-party software (Paul, 2011).
Looking back at the differences between our
current public life offline and the forming of
this modern public life during the eighteenth
century, we have gained notable freedoms in
sense of self-expression. Naturally, we took these
freedoms to the internet and wanted to share
our lives with the whole world. This gave rise to
a new website and service, the social network.
And unfortunately, due to the fact these these
Josh Harris tried to show that people are willing to give up privacy for public exposure and more specifically fame.
social networks are gatekeepers of all users,
traffic and data on their service, they are by
definition closed platforms. This means that,
as it stands now, we are giving up on freedoms
by using them, no matter how many Egyptians
name their children Facebook.//
The Fail Whale, the error screen Twitter shows when their service is inaccessible.
7p a n t h e o n / / m e d i a k i t 2 0 1 3
freelancersRegelmatig is pantheon// het podium voor
gastschrijvers en critici en houdt zo het debat
op peil.
stylos // thema // algemeen
recommended readingMet elke editie van pantheon// worden een
aantal publicaties verkend die bijzonder
relevant zijn voor de thematiek.
stylos // thema // algemeen
@architectInterview met architecten met een bijzonder
oevre gekoppeld aan hun proces en werkom-
geving. Hoe beinvloeden die elkaar?
stylos // thema // algemeen
get inspiredInspirerende nieuwe ontwikkelingen en
dingen die je gezien moet hebben. Blijf up-to-
date maar wel op een tijdloze manier.
stylos // thema // algemeen
38 s t y l o s / / e m e r g e n c y / / a l g e m e e n
a question of ethics ?Laura Maasry
Does Ethics play a role in your design? Is your building Ethically just? These are difficult questions. Such questions may give an apprehensve feeling at the thought of the incorporation of Ethics into the Bachelor Curriculum at Bouwkunde. We must not forget that the importance of Ethics lies in the quest; the asking that needs to take place, in the first place.
case studies demonstrate ethical dilemmas concerning shared
responsibilities and conflicting obligations to clients and the
greater community.
Such courses concern Ethics and Practice, where the goal is to
teach the future architect to make well-reasoned ethical decisions
concerning both the design process and his career.
Other ethics-based courses include the University of Arizona’s
Land Ethics, which teaches a profound approach to the issues
concerning the environment, not merely through the ‘sustainable
= good’ model, but by analyzing and playing with concepts in
speci�c �elds, for example looking separately at geology and
hydrology.
As a matter of fact, there is nothing particular to the presence of
Ethics in the practise of Architecture. Ethics courses are o�ered in
a range of disciplines, creating a spectrum of professionals. This is
simply most professional careers are subject to Ethical dilemmas.
One might even argue that the existence of such dilemmas is
nothing unique and is to be expected in the professional life of an
Architect, where multiple parties’ interests are at stake.
Ask Yourself, Why?
The real interesting ethical questions lie in the bigger context,
those questions concerning the movements and ideologies that
develope and change throughout history. These questions put
the Architect’s role in society is a point of criticism, rather than
accepting it as a given fact. This way one can achieve a broader
understanding of our discipline and gain a truly critical design
approach.
To appear in the four upcoming editions of the Pantheon, this
column brings a few contextual, sometimes historical, aspects
Let’s talk about Ethics
On Friday March 10, a heated debate took place at Bouwkunde
concerning the incorporation of Ethics courses into the Architecture
Bachelor program. Visiting professors and Architects from Europe
and the United States were present, each contributing personal
views regarding content and approach to Ethics in Architectural
Education.
The debate revealed di�erent interpretations and possible ways
relating Ethics to Architecture . Ten minutes into the discussion, it
was clear that it is not a simple matter, especially when it comes to
how this can best be applied into university education. How, where
and why at Bouwkunde?, one asked.
One point where all participants decidedly agree upon was that
the teaching of Ethics allows for students to develop important
critical thinking skills as well as the ability to verbalize this thought.
The conclusion that a course in Ethics would be an appropriate
and ful�lling addition the curriculum at our faculty was concretely
drawn.
You might think to yourself, Ethics and Architecture? A strange combination. Super�uous, unneccesary, unrelated, or self-evident? I am completely in support for required course(s ) in Ethics at Bouwkunde because I think this will help students gain the ability
to put their education and the �eld of Architecture, in perspective.
Rhetoric vs Argumentation
Anybody who has spent a number of intensive weeks on a design
project has a story to tell,. This is generally referred to as our ‘concept’.
But what the concept often lacks is an analysis of the deeper
consequences, societal implications for example, of the project.
This is not to say that every building should and will possess such
implications, but re�ection upon such matters is necessary to create
a good design.
The ability to defend, with good reason, the decisions one has taken
during the design process helps one critically pose the most imporant
- and also the most di�cult question of all: should it be built?
Unique, or the Norm?
The Faculty of Architecture at Harvard University recently added
Ethics courses into its curriculum. The institute has proposed a
proclaimed unique curriculum involving case studies based an actual
episodes involving dilemmas faced by practicing architects. The
39s t y l o s / / e m e r g e n c y / / a l g e m e e n
in Architecture to light and discusses the Ethical questions and
dilemmas invovled.
My goal is to contribute to our faculty a deeper understanding of
the importance of Ethical reasoning in the �eld of Architecture. I
wish to provoke you, the reader, to ask yourself some fresh, critical
questions about either past and present themes and/or events in
Architecture while relating them to their larger contexts of history,
politics, and moral culture.
Who’s the Control Freak?
Architecture has always been subject to artistic and ideological
movements, commonly based on a set of Ethical rules. In the age
of Functionalism, Architecture was idealized into the the epitomy
of rational and e�cient human activity. At the peak of his years, the
leading Bauhaus professor and Architect Hannes Meyer proclaimed
Architecture to be the product of the formula, function times
economics. Functionalistic Architecture strived to organize on the
basis of social, technical, economic, and psychological studies.
The precision of these studies allowed for the design process to
obtain powerful cultural role in society. As the interior of his home
was designed to rigidly suit to his core needs, the logical consequence
was that the habits of men became ingrained in the inhabited space,
‘�tting’ eachother as to achieve an e�cient daily lifestyle as well as
design.
But did such processes hinder the ‘natural’ evolution of daily activity?
While this question can not be answered with certainty, it is useful
to consider it.
Here we touch upon the relationship between human activity and
functional Architecture. Who is subordinate to what force? Who
should be subordinate? Ironically perhaps, Meyer proclaimed himself
subordinate to the societal endeavor of creating a utopian future. He
designed each of his buildings with the purpose of moving towards a
higher stage of communal organization. In this sense, societal change
was encouraged through a design process – a process at the same
time subject to a greater cause.
Can one make a moral or ethical judgment about this? Should an
Architect be able to in�uence human activity – or should be the other
way around? Who gave the Architect the right to speculate about
the ideals of utopia, anyway?
Incidentally, Meyer proclaimed the Architect to be a servant to the
community, building for the community. He also recognized that
communities are made up of individuals to whome he gave the
social responsibility of ‘insightful thinking’ and ‘inventive genius’,
as he referred to it.
Perhaps the servant Architect claim was partially true. Perhaps the
Bauhaus Architect played a role in the great er educational process
of shaping a better life. Or perhaps Meyer was tactful as to form
his manifestos in such a way which Ethically justi�ed the ideals of
Functionalism.
Free-Market, Rigid Evolution
So why it is important to understand the Ethics concerned with
Functionalism, whose a�uence during the 1920’s and 30’s has long
since faded? There are many answers to this question. One may begin
by considering that Ethical dilemmas repeat themselves, taking a new
form with each new context, throughout history.
Recently, Rem Koolhaas brought forward a set of Ethical questions
concerning the evolution of cities, helping spark a central debate in
the international Architecture community. He asks, with referance
to leisure-based cities such as Dubai and Singapore, whether public
spaces are being too rigidly planned-out, manipulating urban activity
to its present needs, hindering the ‘natural’ evolution process.
The current free-market context of cities drives this evolution debate
further. Private entities are steadily gaining economic control of
the Global economy, changing the dynamic and weight of parties
involved in growth, Urbanization – and therefore urban planning.
Rem Koolhaas has described this as a new, “non-thinking” trend in
city growth during the past 15 years2. So who’s in control now?
Interestingly, free-market based interests are in their economic sense
opposite to the collaborative principles of Meyer’s functionalism.
However, the resulting societal consequences can bring about
comparable and signi�cant Ethical dilemmas.
These dilemmas provide interesting discussion for students of
Architecture. Incidentally, they are toolbox needed for critical
thought. The development of these critical skills is vital for the future
designer to make the right decisions about the how, what, and whys
in Architecture. Realizing a design is one achievement, but creating
something that embodies soundness - both functional and Ethical
- could become a masterpiece. //
Sources: > Koolhaas, Rem. "Dilemmas in The Evolution of the City", interview with Cabe News, http://www.cabe.org.uk/
29s t y l o s / / o n d e r d r u k k i n g / / a l g e m e e n
Noor Debets
recommended reading
Atlas of the conflict M. Shoshan
Deze Engelstalige atlas kreeg een Gouden Letter
voor ‘Schönste Bücher aus Aller Welt’ en beschri-
jft op allerlei manieren het conflict tussen Pal-
estina en Israel. Het zijn veelal vereenvoudigde
kaartbeelden die, met twee mengkleuren, de
geschiedenis van beide landen laten zien. Ook
deze keer verzorgde Joost Wouterse, die al drie
keer eerder de Gouden Letter voor zijn atlassen
won, de vormgeving. Onderwerpen als grenzen,
muren, landschap, demografie en Jerusalem
komen aan bod waarbij enkele foto’s extra
beeldende informatie verschaffen
320 pagina’s //35,99 euro //2010
Cosmic Communist Constructi-ons Photographed (CCCP)F. Chaubin
In de periode van 1970-1990 zijn er, geïnspireerd
door de Constructivisten en de Westerse
Modernen, in de voormalige sovjetunie in
grote getalen gebouwen gerealiseerd. Veel
architecten kregen, in het strakke regime van
de communisten, grote vrijheid om gigantische
bouwwerken te creëren. De Franse fotograaf
Chaubin legde negentig van deze gebouwen
vast in het boek CCCP, dat een naslagwerk vormt
voor de complexen uit deze chaotische tijd.
312 pagina’s //39,95 euro //2011
Massa en Macht E. Canetti
Een van oorsprong Duits boek (Masse und
Macht) waarin Canetti op een filosofische wijze
de begrippen massa en macht uitlegt. ‘Nergens
is zo duidelijk de betekenis van het bevel en
van de verhouding tussen de (ge)dode en de
overlevende onder woorden gebracht’ vermeldt
de achterkant van het boek. Aan de hand van
mooie metaforen die aan de natuur gelinkt
zijn, probeert de schrijver het geheel leesbaar
en begrijpelijk te houden en brengt hij in korte
fragmenten de lezer veel kennis bij over deze
belangrijke begrippen.
547 pagina’s //16,50 euro //1960
2. onderdrukking.indb 29 20-06-11 10:51
30 s t y l o s / / o n d e r d r u k k i n g / / a l g e m e e n
One of the Netherlands’ most experienced architectural practices Claus&Kaan Architects hold two establishments: Amsterdam and Rotterdam. The Amsterdam team currently resides in a nicely situated building of their own design on the coast of IJburg. Office manager Ellen Wybenga told the story of this beautiful working environment for Pantheon//.
How many people work here in Amsterdam
office right now?
Right now Claus & Kaan Amsterdam is a team of
18 including two trainees and one receptionist.
And there is me of course. After the crisis we
had to scale everything down. There were times
when we were working with 50 people.
How did CKA move to IJburg?
We have been here since October 2007. Back
then it was very hectic, we had loads of projects
and more than 50 personnel. The office was in
need of a larger workspace. At first not only this
building was incomplete but also Ijburg itself.
The harbor next to us was a big pile of sand.
But Ijburg offered something fresh, a new
look. Unfortunately 3 years ago the crisis hit us.
We had to let many people go, our personnel
decreased down to 17 which caused the building
to shrink as well. Unlike before, we now use only
the second, third and fourth floors. The fourth
floor is where the reception and public relations
departments reside. We invite our guests to this
floor because it has the nicest view. On the third
floor we have our model making rooms. All the
personnel including the managers sit together
on the second floor.
You work in a building designed by your
office, surely this is an exceptional chance
but does it also have disadvantages?
CKA is the designer of this building but not
the owner. We are only renting this space and
herefore we are not free to change whatever we
want. I do not see any disadvantages because it
is such a great building on such a great location
anyway, but this definitely forms a stronger
psychological bond with the space. Sometimes
we have visitors who think that the office is
“ugly” which of course does not feel nice.
How many days a week is there personnel
in the office?
We are pretty strict with working hours. We start
sharp at 09.00, you can not start before or after.
This office follows a regular eight hour schedule
which means everybody leaves around 17.30.
Many things have changed with the crisis but
not our office hours. If personnel has to stay up
every night something is clearly going wrong in
that office. Moreover this usually has a negative
affect on performance. It is very rare that we ask
for extra working hours but it happens when we
have a huge deadline for example.
Students will be happy to hear that, what
about during the weekends?
Our office is closed from Friday to Sunday, we
have a 4 day work week since the beginning
of last year. After the crisis just like everyone
we started receiving less projects. Skipping
a day was decided together to be able to use
the remaining days more effectively. At the
beginning this was worrying but now everybody
enjoys it, people have an extra free day although
this means everyone gets paid less.
Does everyone have a stable working area
within the office?
Yes, everybody sits on the same floor we want
to have a certain organization. We have an open
office system but mostly architects working on
the same project stay close to each other for
practical reasons. The partners also sit together
What is the first thing you do when you enter
the office in the morning?
I check if the alarm has been switched off, I
always take the stairs up instead of the elevator,
I make some coffee and turn on my computer.
Can you tell the story of this office shortly?
Claus & Kaan Architects were founded by Felix
Claus and Kees Kaan in 1988. Currently we have
two establishments, one here in Amsterdam and
one in Rotterdam. Despite the name there are
5 partners in total. Felix Claus and Jaap Gräber
work together with team Amsterdam. Kees Kaan,
Vincent Panhuysen and Dikkie Scipio are with
team Rotterdam.
Are you working together with Claus&Kaan
Rotterdam or do you only share this name?
Claus & Kaan Architects is a unity, the two
offices should be seen as one architectural
office that works independently on a practical
daily base. They have their own projects and
staff but on management level there is a lot in
common. When it comes to public relations,
competitions or publications we act as a whole.
We also organize social events such as new years
eve parties, excursions and summer activities
together.
What is the function of an office manager in
an architecture office?
First of all I am not an architect which works as
an advantage in this case. This way I can stand
out of the design process and remain equally
distant to every project. I have been working
here since 2000, from the time when the office
was still located in Weesperstraat. My main task
is to organize the office related issues as well
as finances. Together with the other members
of the management team, I keep track of
personnel, program, payments and many more.
Sine Celikphoto: Luuk Kramer
‘Last three years let us see how important it is to keep the personnel informed.’
@architect: Claus&Kaan
2. onderdrukking.indb 30 20-06-11 10:51
31s t y l o s / / o n d e r d r u k k i n g / / a l g e m e e n
half-separated from the others. When we had
a small office and many architects this was
becoming a problem but this building is very
spacious, we definitely have enough space. We
can be more flexible now. This flexibility also
comes from the fact that we have less architects
with permanent contracts now.
Are your colleagues allowed to personalize
their working area?
No absolutely not because this office represents
Claus&Kaan, neat architecture with very sole
elements. We also want our visitors to experience
the simplicity because it is our face. Busy desks
with colorful personal items can disturb this
image. Therefore everyone is obliged to clean up
their desks on each Thursday afternoon. This is
also handy for the cleaners, somehow it prevents
the chaos in the office space. In my previous work
everyone had to personalize their working area
and Felix Claus knew that. First thing he asked
me when I started in CKA was if I was going to
put candles and pictures everywhere
Is there currently anything else happening
in this building?
When we had to let our personnel go, we also
needed to gain something from the extra space
we have left. This way we sublet the ground
floor to a dance school and the 1st floor to a real
estate company.
Do you have daily rituals in the office?
Our only official break is for lunch. When the
weather is nice we sit outside near the harbor to
eat or we stay in our kitchen. While working with
50 people we were having a lunch organized
everyday where two elderly ladies prepared a
long table for everyone. We do not need that
anymore because everyone arranges lunch for
themselves.
Do you organize office activities regularly?
We celebrate the new year together usually with
a dinner. Twice a year we organize an excursion.
We rent a bus or travel by bike to visit new
projects. When we receive a huge project or
deliver a project we celebrate it immediately.
Before the crisis we used to go on excursions
abroad. We have been to Copenhagen, Porto,
and Berlin together but those had to be skipped
for a while.
Do you think your working environment has
an effect on your performance as an office,
positive or negative?
I think this beautiful building with it’s amazing
view effects everyone positively. When we were
at the Weesperstraat everyone was stressed,
it was different. But it was in the middle of
the city which was an advantage. Some of
our current personnel does not know these
diffrences because they have never worked in
the old building. New building tells another
story, a story of our own with it’s basic features
and simplicity. This is who we are and at the
same time where we are. I see this as a unique
opprtunity.
How are the relationships arranged in the office, is there democracy or hierarchy?I think it is a combination of both. We discuss everything together during our monthly office meetings. Last three years let us see how important it is to keep the personnel informed. Asking them their opinion, what they think about office related issues and decide together afterwards. I can not call it a democracy, there is no voting for instance. At the end there is one person who makes the decision but we try to make decision based on the ideas of the personnel.
How dominant are the partners here?
They are basically involved in all the projects and
also in the practical things. They coordinate the
magament meetings every monday. We discuss
the finances, public relations, the personnel and
take decisions that I make sure they get done.
Do you have a favorite spot in the building?
My workplace is the best place in this building. It
has the most beautiful view and very quiet unlike
the other floors. I also like the first impression on
visitors faces when they see the view. Everyone
gets amazed the moment they enter.
Can you define your working environment
in three words?
Beautiful, water and sky. I think the contrast
between the building and it’s surroundings is
what makes it unique. When you look from my
window, it is between flying and standing on
water. At that moment there is nothing between
you and the horizon.//
2. onderdrukking.indb 31 20-06-11 10:51
get inspiredSiriluck Songsri
Camera Obscurawww.huberokororo.com//DIY
School is almost over and if you are planning to do absolutely nothing this summer but you actually are afraid to get bored; try making your own paper cut-out pinhole camera. Never again gigabytes of pictures. But some shots with unique atmosphere and creative approach. #1
Unsinkable Artwww.ivanpuig.net//observe
Spaces outside the walls of your design are sometimes neglected. Especially when there’s no more time left until the deadline. Some trees there, benches here. Try the other way next time; make an artwork of it like Ivan Puig is doing here. #2
Patchwork Parkwww.ciglermarani.com//observe
Chess players are one of those who love spending their time in urban parks. Now they can have a whole new experience by becoming chess pieces, only in Czech Republic. #3
Papierarbeitenwww.simonschubert.de//DIY
Impress your fellow students and supervisors during the final presentation by making your interior impressions from a piece of paper only. #4
Digital Transportationwww.wetransfer.com//use
Nalden (nalden.net) and friends are well known for their interactive media skills and have created a delivery website where you can transfer big files without any registration. And it even looks sexy. #5
#5
#4
#3 #2
#1
8 p a n t h e o n / / m e d i a k i t 2 0 1 3
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vertel uw verhaal met een advertorial
Een advertorial is een samenvoeging van een
advertentie en een redactioneel artikel. De
informatie wordt gepresenteerd in de huisstijl
van het blad om zo kwaliteit en geloofwaar-
digheid te ontlenen. Waar een advertentie
geschikt is voor het vestigen van aandacht
is de advertorial bijzonder geschikt voor
het vertellen van een verhaal, het schetsen
van situaties en het overtuigen door middel
van argumenten. Wat doet uw bedrijf en
waarom is het interessant, of waarmee kan uw
product zich onderscheiden? Hiermee heeft
u een grote kans te overtuigen door middel
van ratio en voorbeelden; een kwaliteit die
het lezerspubliek van de pantheon// zeker
aanspreekt. Jonge ontwerpers en architecten
in de notendop kunnen op deze manier ken-
nis maken met uw bedrijf of product en dit
toepassen in studie. De pantheon// redactie
kunt u hierbij helpen en begeleiden in het
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vertel uw verhaal met een advertorial
vitra. advertorial, gepubliceerd in pantheon// 2008 deluxe
plastica & VM ZINC, gepubliceerd in pantheon// 2008 avontuur
32 s t y l o s / / d i a l o o g / / a l g e m e e n 33s t y l o s / / d i a l o o g / / a l g e m e e n
//advertorial
Design speelt een hoofdrol
Vitra heeft sinds de jaren vijftig nauw samengewerkt met het beroemde
Amerikaanse designersechtpaar Charles en Ray Eames. De ontwerpers
raakten bevriend met de familie Fehlbaum, de eigenaars van Vitra. De
Eames’ waren regelmatig in Weil am Rhein te vinden. Hun visie op modern
meubeldesign heeft grote invloed gehad en het Eames-nalatenschap wordt
nog steeds met liefde en eerbied gekoesterd door Vitra. Ook de beroemde
Panton Chair komt bij Vitra vandaan, die werd ontwikkeld in de jaren zestig,
samen met de ontwerper Verner Panton.
De Panton Chair werd in de hele wereld bekroond met designprijzen; de
stoel staat in talloze collecties van toonaangevende musea. Dankzij zijn
expressieve vorm heeft de Panton Chair zich kunnen ontwikkelen tot een
icoon van het design van de twintigste eeuw.
Home collection
Na vele jaren gericht te zijn op de inrichting van kantoren en openbare
ruimtes, heeft Vitra sinds een aantal jaar de Home Collection. De
Vitra Home Collection is speciaal bedoeld voor de particuliere
woonbranche. Daarvoor worden nieuwe meubels ontwikkeld door
hedendaagse ontwerpers zoals de gebroeders Bouroullec en Jasper
Morrison en komen ook oude klassiekers van bijvoorbeeld Jean
Prouvé en George Nelson opnieuw in productie. De Polder Sofa van
Hella Jongerius is één van de bekende en zeer succesvolle nieuwe
meubels uit deze collectie.
Design
Design speelt een hoofdrol bij Vitra en dat is merkbaar in alles. Zo
heeft het bedrijf in de jaren tachtig een eigen museum opgericht, het
Vitra Design Museum. Dit is een culturele instelling die zelfstandig
functioneert en die zelf tentoonstellingen maakt over vormgeving
en architectuur. De reizende tentoonstellingen gaan vanuit Weil am
Rhein langs musea in de hele wereld.
Bovendien beheert het Vitra Design Museum één van de aller-
belangrijkste designverzamelingen. De collectie van het Vitra Design
Museum is na een bescheiden begin in de jaren tachtig uitgegroeid
tot een van de meest belangrijke internationale collecties op het
gebied van hedendaags meubelontwerp. In 1989 omvatte de collectie
ongeveer duizend objecten; sindsdien is deze uitgebreid tot ongeveer
zesduizend stukken.
De bedrijfsgebouwen van he museum zijn op zichzelf ook de moeite
waard, want ze zijn ontworpen door een aantal grote architecten.
Frank Gehry bouwde er bijvoorbeeld een fabriekshal en het museum.
Tadao Ando ontwierp een conferentiepaviljoen en van Zaha Hadid
staat er een brandweerkazerne. De fabriekshallen zijn van de
architecten Alvaro Siza en Nicholas Grimshaw.
Bouwkunde op de Julianalaan
Een groot deel van de Vitra collectie is inmiddels ook terug te vinden
in de nieuwe tijdelijke huisvesting van Bouwkunde aan de Julianalaan
in Delft. In afstemming met de ontwerpbureaus verantwoordelijk
voor de inrichting van het gebouw, zijn de verschillende meubels van
Vitra opgenomen in het interieur. Alles van ruime werkplekken met
grote witte bureau's tot gezellige zithoeken met bijzondere meubels
uit de collectie vind je terug in het gebouw.
In Nederland kan de hele Vitra collectie bekeken worden
in de showroom van Vitra (Nederland) BV
Vitra (Nederland) BV
De Oude Molen 2
1184 VW Ouderkerk a/d Amstel
tel: 020 - 5174444
www.vitra.com
www.design-museum.deDe Polder Sofa van Hella Jongerius, te vinden op de vide bij Stylos
Joyn tafel van Ronan & Erwan Bouroullec, te vinden in alle ontwerpateliers aan de Julianalaan
De Panton Chair van Verner Panton te vinden bij M&C en FMVG
Algues van Ronan & Erwan BouroullecAmoebe Highback van Verner Pantonte vinden bij RMIT
38 s t y l o s / / a v o n t u u r / / a l g e m e e n
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p34-40 algemeen 02.indd 38 18-6-2008 14:50:42
39s t y l o s / / a v o n t u u r / / a l g e m e e n
VM ZINC® is wereldmarktleider op het gebied van gewalst zink, geprepatineerd zink,regenwatersystemen en dakaccessoires. U kiest de dak- of geveltechniek en tint die bijuw project passen.
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Architectenbureau Hennie Beenen
p34-40 algemeen 02.indd 39 18-6-2008 14:50:49
12 p a n t h e o n / / m e d i a k i t 2 0 1 3
contact redactie
Studievereniging Stylos BG.Midden.110
Julianalaan 132
2628 BL Delft
015 278 36 97
www.stylos.nl
pantheon// [email protected]
pantheon// eindredacteurMargot Overvoorde
vind ons op pantheon.stylos.nl