graduation projects 2012-2013 pod version

1Amsterdam Academy of ArchitectureGraduationProjects 2012-2013ArchitectureUrbanismLandscape Architecture

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Contents

24 Jurgen Bey, Making wishes

Architecture 26 Jarrik Ouburg, Posing questions 28 Adriaan Aarnoudse, The peninsula rediscovered 36 Gara Beukman, mazi 44 Robert Bijl, FOA [C/M] 52 Txell Blanco Diaz, Vinex Market 60 Steven Broekhof, Bring me Back my Amsterdam 68 Avital Broide, The neighborhood for returning sons and daughters 76 Anne Dessing, Articulating the surroundings 84 Lard Joordens, Antonius. Together Better. 92 Graham Kolk, WoonLab 100 Andrew Page, Teatro Awasa 108 Femke Poppinga, Country Living in the City 116 Bas Schuit, Time for space 124 Immanuel Kwaku Sirron-Kakpor, Voltascapes: Re-thinking Modernity 132 Alena Ulasava, Incubator 2.0 140 Jesse Zweers, LabLoods

Landscape Architecture 148 Marieke Timmermans, Getting involved

150 Marit Janse, Salt crystals 158 Claire Laeremans, The necessity of ruins 166 Ramon Postma, Evening Glow 174 Marlies Rijken, Travelling through time 182 Patrick Ruijzenaars, Waterlands Woud 190 Philomene van der Vliet, Strings Attached 198 Pauline Wieringa, IJpark

Urbanism 206 Arjan Klok, Committed and progressive

208 Sebastian van Berkel, City Motion 216 Anneke Sluijter-Jacobsen, Goud Waard 224 Sanneke van Wijk, New Life

232 Aart Oxenaar, Jury report on Archiprix 2014 nominations

Academy of Architecture 237 Master of Architecture Urbanism Landscape Architecture

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Making wishes

Jurgen Bey Visiting critic

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Firstly, I want to congratulate the students with being part of a new generation that will strengthen the world professionally, in a time that is so interesting. A time in which boundaries between disciplines blur. The city planner, the landscaper, architect, interior designer, product designer, graphic designer, the fashion designer can work on the same assignments. For the first time, it seems that every discipline can compete for the same projects, for issues that were previously exclusively answered by one specific single field of design.

How do we travel? Are we driven by the way the streets are laid or does our GPS determine where the road runs? And when we are on our way, do we hurry towards a bottleneck or set of traffic light and is it important how the landscape around us is organized? Are we mainly on the move or is the road also a place itself?

When we build houses, do we follow the architects thinking up to the last sill? Or is the building shell sufficient to further complete it to personal taste with the aid of Home Depots and DIY programs? The remaining space is filled in when walls and floors are finished. Supply and demand of the market is a determinant, the market with its good value for money.

Do we decide that building codes are too restrictive and result in uniformity? Why not rewrite them the laws so to reveal that building within a matrix yields a much more specific house? As long as you never grow taller than the trees and fill the spacing in between, the architecture can be devised while starting from the house itself.

And when making grand landscape plans for black coal areas, we might consider to seduce people to travel around in it. Like you would in a beautifully illustrated atlas, in a landscape full of little gems. No technocratic combat with immersive plans. Just starting and learning form a landscaper whos drawn plans with a personal handwriting and competes with beautifully illustrated childrens books .

A church of concrete exchanges the Sunday rest for a roofless park where the light and rain have free reign. The building develops into contemporary architecture with aisles of a quality that can compete with the common stained- glass windows.

Travel back to your childhood without losing track of current times, to pursue the utopia of the kibbutz but in the form of a built campsite. The informal part of meeting now defines the architecture that has been cut up into different structures.

The retirement home mixes with the library, so that oral history can shuffle along in between skypers and internet users, under the sky of a church from different times.

A salty Zeeland landscape doesnt start from landscape development, but from cultural development of the trades and objects native to Zeeland. Like the Romanian mountains where developments remained the same since long and are now in the lead of the trend of slowing down and history that is alive. The landscape speaks the language of today, but doesnt bow down to the mistakes of progress. The standstill serves as a kind of analogue Apple Z that works the land.

An Incubator as architectural force, following the example of airports, is seeking an infrastructure and accommodate the meeting of people. How does such a house function and what does it look like?

A river is tamed with streams that are collectively owned, by leasing houses and opening the fringes of gardens up to the public, creates a new rugged bocage pastureland.

Amsterdams IJ waterfront is developed from the color red and floating pontoons, creating a string of floating objects.

A path of pink blossom across Amsterdam West strings all seemingly insignificant and almost invisible monuments together and unlocks the city by using greenery.

Using the metro to go to a newly developed forest. A forest that brings the water back to its standard level and where Amsterdam citizens scavenge the forest the ground above while being underground.

Fly ash presents Rotterdams sculpted architecture as a means to form a bond with the unwanted.

In short, there is a new generation on its way that embraces large-scale thinking while starting on a much smaller scale. Failure out of the question, because it is a matter of starting and doing with all the resources available. Their tools are the spoken word, illustration, building by hand, making technical drawings for the people who execute them, but also simply by making wishes. The context is the public domain and its collectivity. This is the answer to layer different programs on top of each other. To impose a Dutch cultural morality: He who doesnt honor the small is not worthy of the greater things.

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Posing questions

Jarrik Ouburg Head of Architecture Department

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Learn from yesterday, live for today, hope for tomorrow. The important thing is to not stop questioning. - Albert Einstein, Relativity: The Special and the General Theory

During their education at the Academy of Architecture, students are encouraged to define their personal profile as designers and adopt a position in architectural discourse. This is by definition inherent to the profession, since design in principle always involves making choices, and every choice is personal. For instance, students are free to choose which design projects they follow. As a result, they are implicitly responsible in part for the education they pursue. By taking this responsibility seriously, students have already taken an important step in the development from bachelors to masters level.

During the graduation project, the master dissertation of the academy, responsibility increases even further. Students can, in consultation with the head of the department, define their own graduation assignment and choose their own team of supervisors. That is both a luxury and a burden.

Whereas the standard teaching procedure is for the tutor to pose a question in the form of a design assignment, during the graduation process the first task of the student is to formulate the right question for himself or herself. What is my graduation subject? What is my attitude to it as an architect? What is my social role in the issue? Is that really relevant?

Each good project begins with a well-formulated question of course, and it is then up to the architect to offer a right answer. The architect often knows better than the client what question is actually put to him, and continually questioning the relevance of the question is one of the most important tasks of a critically operating architect. That certainly applies to this class of 2013 graduates, at a time when there appear to be no obvious answers to obvious questions.

What is striking about the class of 2013 is that almost all of them are good at asking the right question. How do I design housing for elderly people in which they themselves acquire a role in defining how they use the building? How can I reuse a large vacant office building in the heart of Amsterdam? How do I design a theatre that is more than just a performance venue? How do I transform an empty warehouse into a collective space for the city? How do I design an office building in which encounters between and collaboration among occupants underpin the scheme? How do I give a church a new purpose for and on behalf of a new generation? What are the possibilities for collective forms of housing in the city? How can I improve the quality of the environment in a Vinex district that is still undergoing development? How can I deploy waste storage to help shape the landscape? How can I use local people and resources to find an alternative to developments imposed from above? How can a new generation shape the urban design and architecture of a kibbutz? How can an empty church be adapted to form a public place of contemplation in the city? How can the qualities of a detached family house be incorporated into a collective residential building in the city? How can shopping and living strengthen each other in a city-centre building? How can I stimulate the development of a neighbourhood or park with individual dwellings?

What unites these questions is that they are not spectacular or compelling. Rather, they are very precise. The answers the graduation projects by the students are marked by that same precision. Precision at the scale of the intervention, at the level of the spatial tools deployed, and in the elaboration of the schemes. In this capacity to first of all pose the right questions and then offer the right answers, I see a new realism and a new enthusiasm among a new generation of architects.

Architecture

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Adriaan AarnoudseThe peninsula rediscoveredA narrative landscape in the Rotterdam harbour

Adriaan Aarnoudse

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Architecture

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Located in the middle of Rotterdam harbour is a town called Rozenburg, built in the 1960s for port workers. The harbours present form is the result of excavating, dredging, raising, strengthening and endlessly digging and depositing sand in the mouth of the River Maas. In the harbour lies a big leftover tract of land, the peninsula of Rozenburg. The history of the peninsula is rooted in the expansion of the Rotterdam harbour and is a remnant of De Beer nature area. Since the beginning, the various sites on the peninsula have been used for waste deposit and ground storage.

The peninsula is not very inviting to visitors because much of it is inaccessible, not clearly visible and difficult to experience. Consequently, many visitors go to the end and back without stopping. This design deals with the whole peninsula of Rozenburg and features seven interventions in the landscape. Each intervention showcases a specific quality of the site, makes the location easier to access, see and experience, and encourages the visitor to experience more of the peninsula and its environment. The interventions originate in the morphology of the location and in the tectonics of the harbour landscape. The machine-formed landscape is solidified and fixed on every site. Through the use of an innovative form of landfill, new programme will take shape and grow into the landscape. Landscape can become buildings and the buildings can become landscape.

Hazardous waste, most of it produced by burning garbage and stabilised by cement, is used to make the seven interventions. The waste is encapsulated at grain scale level, allowing it to be processed without significant aftercare. Usable spaces are formed by making walls, floors and ceilings of concrete based on fly-ash cement. Depositing occurs through layers in the ground made of sustainable landfill material of a hardened granulate of cement-stabilised hazardous waste. The cement used in the concrete for the interventions is coal fly-ash cement based on aluminium silicate as a replacement for portland cement, which is based on calcium oxide and calcium silicate. The cement used by the Romans was also based on aluminium silicate, just like this new geopolymer concrete.

The current method of landfill works like a black box and needs infinite care. Sustainable landfill is also possible now. With new methods of landfill, an infinitely safe situation can arise within this generation. This is the outcome of a five-year research project with sustainable landfill by different companies and governmental organisations.

The project is best illustrated by the 18-metre-long installation of the peninsula (scale 1:500) with plaster models of the seven interventions and corresponding images in the background. This installation is made from a woollen rug with hand-embroidered information such as roads, topography, vegetation and embankments. On the site of the interventions a steel pin protrudes from the rug with an enlarged plaster model of the planned intervention in geopolymer concrete. The waste deposits are left out of the models to show and explain the moulds as excavated structures in their purest form.

Graduation date10 12 2012

Commission membersGianni Cito (mentor)Bas PrincenMarcel van der Lubbe

Additional members for the examinationKlaas KingmaJan-Richard Kikkert

Adriaan AarnoudseThe Peninsula RediscoveredA Narrative Landscape in the Rotterdam Harbour

Adriaan Aarnoudse

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Architecture

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7 interventions: 1. viewing tower, 2. bird listening hide, 3. historic pathway, 4. picnic spots, 5. natural resources museum, 6. caf and terrace, 7. open-air theatre

Location of the seven interventions on the peninsula

1 2 3 4 5 6 7

Adriaan Aarnoudse

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The bird-listening hide isolates the visitor from the bustling sounds of the port and gives a new stage to the birds.

Halfway along the peninsula a few picnic spots will be made for cyclists and motorists.

A sheltered place for a mobile snackbar or cantina with a terrace on the water.

Architecture

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Current method of landfill on peninsula

New method of landfill on peninsula

voorzieningen tbv langdurige exploitatie zoals drainage, beluchting, monitoring

boven- en onderafdichting, dmv dikke laag folie en drainage

huidige situatie afvalberging op de landtong

nieuwe manier van duurzaam afvalstorten op de landtong

opgeslagen afval (nazorg: eeuwigdurend)

verontreinigde grond door onvoorziene uitloging

afscheiding ivm verboden toegang terreinvoor een periode van ca. 20 jaar

rotsachtig oppervlak nieuwe afvalbergenandere vegetatie

cement-gestabiliseerd gevaarlijk afval (AVI-vliegas, bewerkt tot 'monolith')gefaseerd gestort

nieuwe bruikbare ruimten in het landschap, gemaakt van beton op basis van poederkool-vliegas-cement ('geopolymer concrete')

geen afscheiding noodzakelijk

beton in lagen gestort, gelijk aan fasering afvalstorten

voorzieningen tbv langdurige exploitatie zoals drainage, beluchting, monitoring

boven- en onderafdichting, dmv dikke laag folie en drainage

huidige situatie afvalberging op de landtong

nieuwe manier van duurzaam afvalstorten op de landtong

opgeslagen afval (nazorg: eeuwigdurend)

verontreinigde grond door onvoorziene uitloging

afscheiding ivm verboden toegang terreinvoor een periode van ca. 20 jaar

rotsachtig oppervlak nieuwe afvalbergenandere vegetatie

cement-gestabiliseerd gevaarlijk afval (AVI-vliegas, bewerkt tot 'monolith')gefaseerd gestort

nieuwe bruikbare ruimten in het landschap, gemaakt van beton op basis van poederkool-vliegas-cement ('geopolymer concrete')

geen afscheiding noodzakelijk

beton in lagen gestort, gelijk aan fasering afvalstorten

amenities for long-term exploitation, such as drainage, aeration, monitoring

sealed above and below with a thick layer of film and drainage

stored waste (maintenance: continuous)

polluted soil through unforeseen leaching

fence to prevent access to site for a period of 20 years

rock-like surface of new waste mountain, other vegetation

cement-stabilised dangerous waste (AVI fly ash, processed into monolith)dumped in phases

concrete poured in layers together with phased dumping of waste

no separation required

new, usable spaces in the landscape made from concrete on basis of geopolymer concrete

Adriaan Aarnoudse

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The 18 meter installation of the peninsula on scale 1:500 (made from a sheep wool rug with hand embroidered information) and the plaster models of the interventions.

Gara Beukman maziCollective Housing for the Elderly

Architecture

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Gara Beukman

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This project arose out of my concern with the way we allow seniors to live. Mazi means together. The idea of allowing seniors to live together and help one another is universal. Mazi is a design for the centre of Athens, because the gap between the problem and the potential is so wide here.

The population of Greece is ageing rapidly in part because of the departure of young people. The current problem with housing for seniors will therefore increase. On top of that, care provided by family members is decreasing. This project shows that derelict premises can be used to create a new residential environment with strong social cohesion and a high spatial richness. Mazi breaks with the Greek tradition of replacing derelict structures with blocks of flats. It strengthens existing qualities and deploys them to improve the lives of seniors.

Stratonos, the chosen location, is a transitional area on the route of tourists to the Acropolis. The block selected has been purchased by the Ministry of Culture. Plans have been drawn up to create office space inside the old homes. Because construction started without permission, local neighbours were able to stop the ministry. As a result, the block has stood empty for years.

For the design I studied the existing and former situations using measurements of buildings and old photographs from local residents. Old structures have been retained and restored. The new buildings are positioned to create shadow in the alleys and spaces. The outdoor space has been designed with as much care as the interior. Greek people live outside for much of the year. Seats are often positioned opposite the window of a house, encouraging encounters. A space of prayer and a shaded area where residents can come together is located in the rock wall.

A building block that has stood empty for years is now revived. Mazi gives seniors a place where they can live together. In Mazi the neighbourhood residents come together, and their laughter and chat bring life back to the neighbourhood. As tourists walk by during the day, local residents gather to play tawli in the shadow, or tend their vegetable gardens in the evening hours, or cool down on the roofs.


Commission membersAd Bogerman (mentor)Gianni CitoIra Koers

Additional members for the examinationAnne HoltropJeroen van Mechelen

Gara Beukman maziCollective Housing for the Elderly

Architecture

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Gara Beukman

Existing situation

New situation

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1 shared kitchen2 storage space for shared garden3 shaded space4 eklisia (prayer space)5 temporary guest accommodation

1

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demolition existing building walls with openings new building walls

new connectionsold existing structures retained and restored centrally located shared functions

N5m0Ground floor plan

Architecture

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Gara Beukman

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sardeloma stuc schist stone

cypress wood

Architecture

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Gara Beukman

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Architecture

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Robert BijlFOA [C/M]Repurposing an Office Building

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Robert Bijl

Architecture

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This project is about the former Fortis head office on Rokin in Amsterdam. It is a big, vacant office building from the 1980s in the centre of the city for which no purpose can be found.On account of the size and the appearance of the building, many parties argue for its demolition, but I think it is too soon to argue for that. The building still has plenty of potential that should first be explored.

The creative sector and creative education are the perfect use for vacant commercial properties of this kind. Unlike business or residential buildings, they blend easily into their surroundings, relatively little rebuilding is required given that one can use the spaces in a much more versatile manner, and they can boost the neighbourhood. The start of a new chapter in gentrification.Rokin, the citys red carpet, is in need of a boost from the creative sector and from education.The photography profession is currently undergoing rapid change owing to the crisis and the shift to digital photography.Two institutes in the sector are the Photography Museum (FOAM) and the Photography Academy (FOAC). Two institutes that operate independently of each other and that could both do with a boost.The FOAC can pull through these difficult times by collaborating with FOAM, becoming visible, and choosing a clear direction. FOAM can grow to become the biggest museum of photography in the Benelux, thus putting the profession of photography on the map.

In my graduation project I house both FOAM and FOAC in the former Fortis office building on Rokin, giving it a new lease of life.The result is a new platform for photography that will strengthen FOAC, FOAM, photography in general, and also Rokin.The aim of the project is to find and design a realistic purpose for the location.Cornerstones of the project are the development of FOAC and FOAM and the reuse of existing office buildings in the city.

The design is based on the existing structure. The facades and total volume of the building have been adapted to harmonise better with the city and its function. It is divided into various volumes to blend with the surrounding plots. In addition, the volumes are shifted towards Rokin to improve the connection with Nes. Connections are also made with the metro that runs beneath Rokin.By providing various types of exhibition and studio space, the building will enable FOAM and FOAC to grow. Public and semi-public exhibitions improve the position and visibility of the institutions in the city.


Commission membersJeroen van Mechelen (mentor) Micha de HaasHans van Heeswijk

Additional members for the examinationJan-Richard KikkertJoost Hovenier

Robert BijlFOA [C/M ]Repurposing an Office Building

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Robert Bijl

Architecture

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2nd floor

Explanation of use

4th floor

Section

Existing situation Nes squareNew situation Public exhibition

Open exhibition Daylight exhibitionArtificial light exhibition Narrow exhibition

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Robert Bijl

Design steps

Design steps

View from Rokin

1RUIMTELIJK PROBLEEM

2BEGIN OPLOSSING

3TOEGANKELIJKHEID/ INDELING BEGANE GROND

4WHITE BOX

1: Ruimtelijk probleem

- Dichte gevels- Verhouding profiel NES- Verhoogde begane grondvloer- Verhouding tot korrel buurt- Doorgang steeg

2: Begin oplossing

- Gevel verwijderen/ openen gebouw- Constructie/ vloeren behouden.- Begane grondvloer verlagen tot maaiveld niveau.

3: Toegankelijkheid/ Indeling begane grond

- Steeg NESplein herstellen.- Toegang metro- Opdelen begane grond niveau.- Functies plaatsen naar locatie. Gescheiden door doorgangen.- FOAC aan NESplein. - FOAM aan NESplein/ NES.- Winkel aan DAM zijde.- Openbare EXPO aan Rokin/ Metro ingang.- Entrees in stegen. FOAM tegenover FOAC, FOAM tegenover Hotel

4: White box

- Plaatsen white box over bestaande constructie.- White boxes voor lichtregulatie functies als expo, galleries & studios- Begane grond vrijhouden.- Steeg als scheiding FOAM & FOAC of studios en expos

FOA[C/M] Concept

5KORREL

6PROFIEL

7ROUTE

8FUNCTIES

5: Korrel

- White box opdelen om korrel omgeving op te zoeken.- White box opdelen naar bestaande constructie-structuur- Bestaand dak/ constructie gebruiken

6: Profiel

- Profiel NES opzoeken door white boxes richting ROKIN te plaatsen.- Afstand & zichtbaarheid maken door openbare EXPO in kelder aan ROKIN zijde.

7: Route

- Bestaande kern met liften.- Verticale routing achter kern.- Verticale route als scheiding Expo's & open func-ties/ techniek- Brug tussen white boxes- Aansluiting 1e verdieping boxes buiten bestaande constructie.- Altenatieve route aan Rokinzijde overige expo's- Openbare EXPO direct toegankelijk vanaf begane en Metro

8: Functies & vloeren

- Ruimtehoogtes verdelen. 1 laag tot 3 lagen hoog.- Kern constructie behouden. Voor en achter verschilt naar behoefte.- Functies plaatsen naar licht/ gebruik.- FOAM zalen in white boxes.- FOAC studios in white boxes.- Kantoren, bibliotheek en cafe aan NES zijde om zo dagritme & levendigheid te creeren.

FOA[C/M] Concept

WHITE BOX

FUNCTIES

START OF SOLUTION

PROFILE

SPATIAL PROBLEM

GRAIN

ACCESSIBILITY / GROUND FLOOR LAYOUT

ROUTE

Architecture

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Groundfloor view/ Photography Museum/ Exit subway Rokin

Second floor view/ Photography Academy

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Robert Bijl

View from Rokin

Architecture

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Txell Blanco DiazVinex MarketBack to the Present

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Txell Blanco Diaz

Architecture

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This graduation project stimulates the residential quality in a Vinex housing district that is still undergoing development.

This is a story about a Vinex district, an endless construction site. Planned in the 1980s for 80,000 people, it is still a long way from completion. Leidsche Rijn is the biggest urban development project ever in the Netherlands and, probably, the biggest such project.

Leidsche Rijn is now home to some 25,500. Because the project is still undergoing development, not a single party currently works on the living quality of the district. We find ourselves in a gap between the past and present. By means of a market, I try to create a better public environment and, thus, give todays Vinex district an identity.

It is generally thought that Vinex districts possess no soul or identity, but is that true? The current identity of Leidsche Rijn is that it is not yet finished, but it is precisely the missing pieces of the district that provide space for surprising initiatives and events.

The design of the Vinex market is based on interrupting the construction process of a typical Vinex terraced house at the moment the facade has not yet been erected. Since there is no facade, the space inside and all around is open and accessible.

Markets in the Netherlands are not permanent, but the squares on which they are held are. The shell of the terraced house makes it possible to hold the market temporarily in and around the building. When there is no market, the building and the space remain open to the public. You can shelter from the rain inside the structures, and instead of a back garden you have a rear court. The decision not to complete the houses or erect the facade means one can add an extra functionality to the concrete shell.

But how do you start a new project in an area still undergoing development? For that, we go back to the present. In contrast to the current process of property development, I stuck close to the end user throughout the development process. That is why this graduation project takes into consideration todays Vinex district. The Neighbourhood Market, the Photoshopper and other interventions in the public domain are important to gain a better understanding of Leidsche Rijn and were the reason to start immediately with the development of the market.

This project is continuing and updates are available at Vinexmarkt.wordpress.com.


Commission membersLada Hrsak (mentor) Jochem HeijmansKamiel Klaasse

Additional members for the examinationAsia Komarova Marco Redeman

Txell Blanco DiazVinex MarketBack to the Present

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Txell Blanco Diaz

MARKT D

AGEN

ANDERE

DAGEN

Architecture

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INTERVENTION 1: Where are my neighbours? First meeting place created from discarded building materials lying on the street. Sitting outside and watching how the neighbourhood changes...

INTERVENTION 2: Looking for people... the FOTOSHOPPER group photo. Pinhole cameras make photo shoots lasting 5 minutes. Second meeting place created.

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CONCEPT VINEXMARKT

When the Vinex district is fully built, will there be any space for public functions?

The vast majority of development in Leidsche Rijn is housing. People live on street level, which is why space for public activities on the street is limited.

A market would seem to be impossible here.

A market building can typify our times and the place where it is located. A feature of Leidsche Rijn is that this district is still undergoing development.

The market stall holders find temporary accommodation for the Vinex market in the shell of a half-built terrace of Vinex homes. A typical view of a Vinex district undergoing development.

It is remarkable that no space for markets has been included in the design of Vinex districts.

If there is no space for markets in Vinex districts, there we will have to create space. If public buildings create squares, what happens when the market itself is the public building that contains the square? Space then remains open for other activities and encounters.

The market in the Netherlands takes space; the Vinex market forms space.

The market building in the shape of the shell of a characteristic terrace of Vinex homes forms a square. The space in and around it is always open to the public. A back space for the public is created in the place of a back garden.

Markets in the Netherlands are created between public buildings on streets and squares. They are not permanent but held for just a few days each week.

The distance between the walls is the standard dimension of a Vinex home (5.10 m), comparable to the dimensions of a standard market stall (4 m). Even so, every home is different.

Txell Blanco Diaz

Architecture

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Adding temporary formwork with no big investment creates interest. The local authority and local residents become curious.

Since we decided in advance not to finish the houses or to erect the facade, the concrete shell can accommodate added functionality.

It is difficult to add new ideas to a district still undergoing development. The graduation project will grow in the near future. Right now it is perhaps possible to make the future of this Vinex district more public. That is why various parties have been invited to take part in this project. We start with a temporary square, the first step in the process to develop the Vinex market.

The market always makes use of CLB fusten and functions best in a half-built house.

1st step in the development process of the Vinex Market

Unused foundations and formworkVacant

Insulation and brickwork

Concrete skeleton

The Vinex Market stops construction here

THE STORY OF THE VINEX: Endless construction site

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Txell Blanco Diaz

The complexity of a building with a lot of facades. To detail each house of the Vinex market differently, the programming of the formwork is drawn in this way.

Architecture

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Steven BroekhofBring me Back my AmsterdamThe Poetics of Restructuring

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Steven Broekhof

Architecture

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Cities are growing enormously, and so too is Amsterdam. Most of the new residents and new homes are accommodated on empty plots or in the suburbs. The tendency is for commercial functions to dominate the historic city centre. Commercial pressure pushes housing more and more to the edge of the city and, as a consequence, the dynamics of the historical city centre are determined by so-called spectators. In the process, the city centre loses its meaning for the people of Amsterdam.

The premise of this project is to design a strategy in which living and shopping can reinforce each other. In this approach, the historic city centre regains its function as a place for both spectators and participants and regains its position within the city fabric.

The location for the project is a warehouse in the very heart of medieval Amsterdam. The existing building was built in the 1970s and features a frame structure, a so-called pilotis plan, that provides a strong and flexible support that can be manipulated easily.

After extensive research into possible urban connections with the existing context, I defined five instruments that, taken together, ensure this building will become part of the urban fabric.

By strategically cutting and slicing the existing building structure, I create physical and visual connections (3) between the different users, retail facilities (1) and housing (2). Public, semi-public and private courts (4) strengthen identity and create destinations along these routes. The public courts contain through-views that highlight important city landmarks and support special functions (5) attached to these spaces.

Every house is positioned between a public and a private court, creating a formal and an informal side. Retail is wrapped in housing from the first floor, reconnecting housing to the street again. Cutting and slicing means that the building can be used in different ways and functions as a three dimensional urban plan.

Cum Laude

Commission membersMarcel van der Lubbe (mentor) Petar ZaklanovicFloris Alkemade

Additional members for the examinationMadeleine MaaskantHerman Kerkdijk

Steven BroekhofBring me Back my AmsterdamThe Poetics of Restructuring

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Steven Broekhof

Architecture

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Retail (1)

Altogether

Housing (2) Courts (4)

Public routes (3) Privat routes (3) Special program (5)

Collective roofgarden/-terrace

Concept

Spectators

solution today mix mutually reinforcing

Involvers Existing frame structure (pilotis plan) Matrix for cutting holes

Location: C&A-building DamrakStructure vision 2040 Municipality of Amsterdam

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Steven Broekhof

Private Court housing (section A) Semi Public Court playground (section B)

Section A Section B

Public Court citysquare (section A) Private Court kitchengarden (section B)

Architecture

66

Scenes / dwellings / shopping / moments...

67

Steven Broekhof

Nightimpression

Impression from Nieuwendijk Impression from Damrak

Architecture

68

Avital BroideThe neighborhood for returning sons and daughtersproposal for a new way of living on kibbutz

69

Avital Broide

Architecture

70

The kibbutz is perhaps the most radical experiment carried out in the twentieth century in terms of housing and community living. I belong to the third generation of this experiment.

I was born in Kfar menahem. When I was 6 weeks old I moved from my parents home into a home for children along with other babies. We lived and slept in this home, which was initially a kindergarten and later our classroom.

Despite how it may sound, we were happy children. We were surrounded by spacious lawns, a safe distance from any danger, with no worries or concerns. The members of the kibbutz loved and believed in their way of life, at least most of the time, and created a world for us that was filled with good and plenty. This was the kibbutz.

A change happened when I was in fourth grade. The kibbutz decided to switch to family sleeping arrangements. Literally overnight, all of the kibbutz children stopped sleeping in the childrens houses and began to sleep at home with their parents. This daring step taken by the members of the kibbutz threatened to destroy their basic, communal ideals and ideology.

The change was both social and ideological. A society that supported and believed in the value of equality had become a society based on individuality. The family became the primary focus of daily life, while the communal, cooperative and collective way of life slowly dwindled away.

Over a period of some fifteen years, the kibbutz underwent processes with far-reaching consequences. The primary results included the decision to establish residential areas for young sons and daughters who were born on the kibbutz, departed over the years, and wanted to return home to live and raise their new families on the kibbutz.

My project formulates the next stage in the urban evolution of the settlement. What kind of urban strategy suits the ideological changes that leave their mark on the kibbutz? A strategy that ensures both the preservation of collective memory and future development options based on the ideology of kibbutz planning perception. How can its nature be redefined through architecture?

The final product is a new model for housing and residential neighbourhoods on kibbutz. I introduce a new type of architectural and spatial structure, based on the values and qualities of historical space, but offering new residential solutions for the modern needs of the individual, without harming the unique kibbutz tapestry. This prototype can be applied to any other kibbutz.


Commission membersMicha De Haas (mentor)Holger GladysZvi Efrat

Additional members for the examinationMatthijs BouwMadeleine Maaskant

Avital BroideThe neighborhood for returning sons and daughtersProposal for new way of living on a kibbutz

71

The Kibbutz as an extended houseThe kibbutz can be described as an extended house for an extended family. A house comprised of many different kinds of indoor and outdoor rooms, with different degrees of individuality and collectivism.

Avital Broide

Architecture

72

Collective rooms

Childrens rooms (houses)

Members rooms

73

Avital Broide

Collective zone

Individual zone

The large LawnThe central square. The place where people gather together from all corners of the kibbutz on weeknights, on the eve of holidays, on days of sadness, and on joyous occasions. Shaded in different tones each time, yet always connecting us together as one big family.

Intermediate lawnsLawns have names and are used as meeting points and landmarks. Their official position is never defined, but scattered everywhere they merge between all the rooms into one continuous fabric.

Intimate gardenTo play, to eat supper, to sit with mom and dad, to entertain, to read the paper, and to go inside only after nightfall. The garden is another room of the house.

Childrens room:In the childrens house the corridor connected all the bedrooms. This was the place to get together right before bedtime, and in the middle of the night when you couldnt sleep. It leads to the telephone, the intercom, the bathroom, and outside to your parents place.

The room had four walls, a hallway door, a window with a curtain at the back, 4 beds, 4 nightstands, and 4 night lights. It was possible to close the door, but no one ever did.

The bed and nightstand were the only personal space for privacy in the entire room, in fact in the entire childrens house. The bed behind the door was always the one most in demand.

Architecture

74

As a little girl, I remember walking alone, crossing on my own route the lawns that stretched all the way from the childrens house to my parents room.The lawns are always alongside the paths, until sometimes, without notice, they become the path itself.

The stepped path is like a little sidewalk. I already felt at home on the sidewalk leading to the building. A piece of pathway branched out to the parents room, like a gateway leading into another world, a capsule of protection within the never-ending collective space.

Doors were never locked. When we did start to lock them, everyone knew where the keys were (under the planter, the tablecloth, the doormat and so on).

Outdoor roomsShortcuts

Collective intermediate space Layers of intimacyZoning layers of intimacy Living-movement space

Spatial sequence

Landscape & housing

75

Avital Broide

Urban section

Anne DessingArticulating the surroundings

Architecture

76

Anne Dessing

77

This project is a study about how to realise special types of single-family housing in Amsterdam. Urbanism in Tokyo was a major inspiration for this project. The choice of this theme arose out of a personal fascination and a social motivation.

Living in TokyoI lived in Japan in 2009. During my time there I fell in love with the houses in the big cities. In Tokyo there are a lot more self-built houses than in Amsterdam, and because of the high prices the houses are often sculptural objects set on very small plots. There is a constant search for creative solutions to make the house a pleasant place. Furthermore, the individual wishes of a houses occupants turn architecture into something beautiful.Its not just the houses in Tokyo that fascinate. The urbanism does too. The design of detached houses leaves enough space for a continuous process of transformation. Its easy to replace the houses without destroying other structures. While the main structure of the city remains unaffected, the relationships between individual houses can change. They provide space for new forms of housing and new forms of social cohesion.My observations of life in Tokyo formed an interesting starting point in finding new strategies to build houses in Amsterdam.

Living in AmsterdamLiving in the city is increasingly popular, but its hard to find an affordable home. The municipality of Amsterdam would like to increase the density of the city, but there is not enough money because of the economic downturn. At the same time, developers refuse to take any risks. The houses that are developed now are mainly built by private developers. During my graduation year I tried to find new ways of planning, using Japanese planning as a reference, and taking my own wishes for a home into consideration.

I studied the tools the Japanese use to plan their city. A big difference between Tokyo and Amsterdam is land ownership. In Tokyo, families own their piece of land; in Amsterdam the municipality owns almost all the land. Ive tried to discover what the effects of this difference are and tried to find a strategy in which the positive effects can help neighbourhoods in Amsterdam.

Designing housesThe key to my project was to make the most of the will of people to live in Amsterdam. Because of the great demand for housing in the city, people are willing to make concessions in terms of standards. I found it interesting to use housing as a tool to give unpopular neighbourhoods a boost.

In the three chosen test locations I designed houses in places that were never seen as possible residential locations before. I designed a house for myself on a plot and, after analysing my design, I drew up a short list of strict rules that the design of the house needs to comply with. And then I tried to find a way to include all the other houses. I wanted to create a better environment with these rules and plot maps. In this way, Ive created a win-win situation. More special homes, nicer neighbourhoods.


Commission membersAnne Holtrop (mentor) Felix ClausMarieke Timmermans

Additional members for the examinationLaurens Jan ten KateMariette Adriaanssen

Anne DessingArticulating the surroundings

Architecture

78

Anne Dessing

Model of Zeeburgerpad in various phases

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20 -22

100.000,-

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300 m2

100 m2 50 m2

Zeeburgerpad site. From left to right: current vacant properties, strategy of small plots on existing foundations and floor of a property, projection on piece of Tokyo creates small neighbourhoods

Frankendael site. From left: current development with north-south orientation, living unit and the profile between the units, leftover spaces defined, position of houses along entrance street

Rembrandt Park site. From left: existing paths, existing water structure, trees cut by the infrastructure, cut-outs interpreted as plot map, living among the trees

Architecture

80

Model of house on Zeeburgerpad

Model of house in Frankendael

Model of house in Rembrandt Park

Anne Dessing

81

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Map of plots and rules Rembrandt Park

Lease a plot equipped with a water and electricity connection

No cars allowed

No felling trees

No fences allowed around plots; use the outer row of trees as a buffer zone

Place a half-sunken sceptic tank

Maintain the leased ground

Build a volume with a footprint of maximum 25 m2

Volume may not protrude above the treetops

Construction materials to correspond with the weight and size of the maximum allowable delivery truck on the park pathway.

Architecture

82

Top: section and plans, scale 1:200. Above: images of interior

Anne Dessing

83

Architecture

84

Lard JoordensAntonius. Together Better.Redevelopment of the Antonius Church by and for the next generation

85

Lard Joordens

Architecture

86

My roots lie in Venlo-Blerick, where I lived from my birth until I was 18. In the Catholic south it is almost inevitable that you come into contact with church traditions at an early age.A visit to the church was, and is, an experience for me, not for religious reasons but spatial ones: the silence, the resonance of the tall space, the quality of light, the scent of incense. Churches possess a mysterious quality.

There is one particular church in Blerick that arouses more than the usual curiosity. It is the Antonius Church, designed by my grandfather Baan Titulaer in collaboration with Jozef Fanchamps. This church was built in 1960 to replace the pilgrim church blown up by the Germans during the war. The building is a typical example of a church from the post-war reconstruction period. A geometric nave of concrete, steel, brick and glass with a free-standing spire and an adjacent low-rise building. The church was a model for modern Christianity and fulfilled an important function as a meeting place in the neighbourhood. Owing to the strong decline in the number of church-goers, many church buildings are now threatened with abandonment. Finding a suitable use for a place considered holy by Catholics is a challenge. The level of amenities in towns and villages in Limburg is high, which means that demolition is unfortunately often seen as the only solution. Big churches from the post-war reconstruction period are particularly threatened because they do not enjoy a protected status or a long history. That is also the case with the Antonius Church. This problem forms the background to my graduation project in which I breathe new life into the most important work of my grandfather.

I discovered a new purpose for the church in combination with housing for the elderly and new accommodation for the existing but poorly functioning library. This combined public-private function responds to the big demand for (care) housing for the rapidly growing elderly community in Limburg. Whats more, the church retains its function as a place of gathering for the community. The purpose of weaving a public function with a residential function is to stimulate encounters between elderly people and the neighbourhood in order to combat the biggest problems that the elderly have to contend with: tedium and loneliness. The combined function makes it possible to give the library the character it deserves as an important social building. Connections between the two functions are facilitated, but not enforced, by a special route through the building. Because the building does not enjoy any protected status, there is freedom not only to transform the interior but also to open up the introvert end facades to the surroundings. The building is located at a point that links the recreational Maas corridor and the village centre of Blerick. Opening up the existing end facades and redesigning the church forecourt reconnects the building both spatially and functionally with the town centre, and Blerick once again faces the River Maas.

Analysis reveals that a geometric pattern - a symbolic reference to the Bible forms the basis for the existing building. This invisible basis, which provided the starting point for the floor plan and facades of the church, is once again used as a design element and rendered visible through the building programme. Extending this underlying structure both spatially and structurally adds a new layer to the existing building. In this way, the design harmonises with the existing church and various generations merge to form a new entity. Together better.


Commission membersMarlies Boterman (mentor)Marnix van der MeerOana Rades

Additional members for the examinationBart Bulter Peter Defesche

Lard JoordensAntonius. Together Better.Redevelopment of the Antonius Church by and for the next generation

87

Lard Joordens

Architecture

88

publiek

publiek

priveprive

publiekprivepriveprive

Facades, new situation Structural principle

Living above public buildingPrinciple division between public and private: limited interaction between functions

Living in public building Public space around dwellings: high degree of interaction between functions.

Dwellings in relation to libraryAddition of 1.5 layers of housing within envelope of existing building.Library both above and below housing.

Dwellings in relation to facades.Living units along facade with outdoor space within facade.Access along axis of building.Collective space as transition between public and private

Spatial concept

Existing Antonius Church with forecourt, viewed from Antoniuslaan

89

Lard Joordens

New situation

footprint Lambertuskerk1200-1899

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Existing church space with facetted ceiling View of reading room beneath existing ceiling

Architecture

90

Zorgambitie tijdens wederopbouwWonen en zorg gecombineerd, voor alle ouderen

Current development of careDivision of living and care, remaining in the home Living in combination with home care and home automation

AmbitionCommunal living: stimulating citizenship in which professional care is limited

Care concept

Longitudinal section indicating access for residents and visitors

View of library, side aisle View of communal space on 1st floor

bezoekersbewoners

91

Lard Joordens

View of living room in horizontally connected dwelling

Vertically connected dwelling Horizontally connected dwelling

Floor plans

1st floor8 living units with shared space

2nd floor4 living units with shared space Reading space

3rd floorReading room and social space

Architecture

92

Graham KolkWoonLabCollective Living in the City

93

Graham Kolk

Architecture

94

What does a living environment look like when people join forces and help one another realise housing wishes or collective luxury that could not be achieved by individuals alone?

In this design I examine the added value of collective forms of housing in the city, in which the collective residential building is more than the sum of individual living units. The study focuses not so much on individual living units or on urban ensembles, but on the space in between them, the collective space. In my opinion, here lies the answer to many current questions concerning the issue of housing. The aim is that the living environment for both the city (the public domain) and the resident (the individual occupant) forms an added value.

The urban plan consists of four new blocks, which blend with the former tram depot (by means of industrial roof form and materials) and the 19th century building blocks (by means of plinth, body and roofscape). Between the new blocks, a rich and vibrant housing and living climate emerges, one that is translated into the neighbourhood square, the city garden, the residential street and the social courtyard.

In the elaboration of the residential block, emphasis is put on the additional programme elements and the public and semi-public spaces used sometimes by the public, sometimes by the housing collective and sometimes by the individual, and add value to living in the city.It is precisely this play between group and individual that is a recurring theme in the design. The urban dimension of the outer side of the block expresses a group, a single entity, and only then the underlying programme. The inner side is very different. It is an introvert landscape of terraces that provides a human scale. This is where the individual resident can personalise the space around the block and give it colour through the niches. The transitions between house and city, or house and courtyard, are designed for each situation, and the transition between the two is very flexible, often literally, because sometimes this is wafer thin and sometimes stretched into a transitional zone where both the visitor and the local resident feel at home.


Commission membersMarcel van der Lubbe (mentor) Danille HulsTom Jonker

Additional members for the examinationMaritte AdriaanssenFlorian Schrage

Graham KolkWoonLabCollective Living in the City

95

Graham Kolk

Architecture

96

Perspective showing integration in surrounding city context

Character of urban spaceEnsemble, individuals make the family Articulation harmonises with existing blocks Roof shape as intermediary

Context

Decor of urban walls

Existing situation

Making smaller blocks + relation with contextForming streets with building development Accessibility and interaction

97

Graham Kolk

Urban plan

Collage, residential street Collage, social courtyard

Collage, urban gardenCollage, neighbourhood square

Architecture

98

View of courtyard with theatre seating

Principle section

The conventional Amsterdam building block Central and visible courtyard access Courtyard provides access to every home Terraced landscape: interaction and typologies

99

Graham Kolk

View of roof terrace with teahouse and herb garden

Making the most of possibilities for encounters

Block = unit and symbolises the collective

Route with shared programme

Structure of floors, plates and openings

Green route

Route is incorporated in structure

Relation with programme and types of outdoor space

Facades as abstract structural game

P kdv

Fragment View of facade

Architecture

100

Andrew PageTeatro Awasa

101

Andrew Page

Architecture

102

The national theatre, Sentro Pro Arte (Centre for Art), is a venue for the performing arts. For decades this was the only theatre on Curaao, where all forms of art and drama were held. No matter what the performance, it was a great experience for many Curaao people. People donned their Sunday best to come here.

Sentro Pro Arte was forced to close its doors in 2002, unfortunately, owing to a lack of maintenance and poor management. The current government has recently acknowledged its readiness to invest in the dilapidated theatre which, it is worth mentioning, its located in a valley between an office park and a residential district. Besides the fact that the orchestra pit fills with water when it rains heavily (a problem that can be technically remedied), there is a major lack of public transport in the region. This means that the current location is unsuitable for a theatre. In addition, other functions that could make the theatre profitable cannot be added because the location is unsuitable.

As a small island with a population of just 150,000, it is impossible to attract travelling shows that could fill the theatre seven days a week. In other words, without additional functions inside the building, it will have to rely fully on government support, thereby making the venue too vulnerable. A solution would be to relocate the theatre to the city. This would allow it to accommodate other functions and thus remain financially sound. Whats more, the theatre adds an economic and social impulse to the city.

The new theatre is located in Otrobanda (one of the city districts of Willemstad), next to a square, which has proven its effectiveness since its construction in 2000. The building is the final piece of the last open wound of a wall destroyed in the big fire of 1969. The bustle in the alleys of Willemstad, so characteristic of the residential culture of the city, reappears fully in the building. These small alleys, which make the building accessible to the public, open onto a well-shaped square that forms a place of gathering. Bordering this well-shaded square and the narrow alleys is the commercial plinth, which increases the retail stock in the city. In addition, these spaces combine with the lettable office space and rehearsal space to generate regular income. The use of the theatre is increased by making the circulation and related spaces public, thereby also making the theatre easily accessible for everybody. As a result, the restaurant and bar can operate independently of theatre performances.

The alleys, which cut straight through the building, result in a division of the building that is typical of the fragmented urban structure of Curaao. The building harmonises with adjacent buildings in terms of height and features a distinctive interpretation of the characteristic hip roof. The facade openings are similar in proportion to the fenestration of surrounding facades. And the various colours of the facades ensure that the structure blends with surrounding buildings, definitively completing the west facade of Brion Square after forty years.x


Commission membersUri Gilad (mentor)Mathis BoutRick Bruggink

Additional members for the examinationMachiel SpaanWinfried van Zeeland

Andrew PageTeatro Awasa

103

Andrew Page

Architecture

104

concept

ground floor

primary alley tertiary alleysecondary alley connection with surrounding buildings

alleys that open onto roofed square theatre spacescommercial spaces foyer / circulation spaces / support services

model

first floor

105

Andrew Page

site

elevation

section

Architecture

106

plaza with shop

foyer

107

Andrew Page

main hall

Architecture

108

Femke Poppinga Country Living in the CityA House for Gijs

109

Femke Poppinga

Architecture

110

Gijs, 11 years old, moved at a young age from the centre of the city to a house with a garden outside the city. There are many others like Gijs, many other young families who leave the city for a house with a garden. Such families would like to stay living in the city, with work and school within biking distance. But there is no housing that can convince these families to remain in the city. What is more, the presence of families in the city is vital to the quality of life in the city. This project, therefore, is a search for a residential building in the city centre that offers an attractive urban alternative for a house with a garden outside the city.

The qualities of the free-standing house with a garden, which Gijs and his parents left the city for, provide the model for a collective residential building in the centre of the city.

Housing units, workspaces and outdoor spaces are stacked and rotated around an open, collective core. This arrangement weaves inside and outside space together throughout the entire building. The private outdoor space connects each housing unit openly to the collective core, thereby creating a sense of community. Residents become neighbours again. Carefully designed sight lines and transitions from collective to private space ensure sufficient privacy. Each home enjoys views of the city, some of them beyond the garden, in three directions.


Commission membersGus Tielens (mentor) Anouk VogelMarcel van der Lubbe

Additional members for the examinationPaul de VroomMarc Reniers

Femke PoppingaCountry Living in the CityA House for Gijs

111

Femke Poppinga

Architecture

112

Mills once lined the city ramparts Living will soon mark where the city ramparts once were

Outdoor space directly connected to stairwell

Plattegrond 12e verdieping

113

Femke Poppinga

Section of apartments Apartment adjacent to outdoor space connected openly to stairwell

Floor plan with possible arrangement below (A = 110 m2 apartment, B = 55 m2 apartment)

Plan with possible arrangement above (C = 25 m2 workspace, D = 30 m2 studio)

Architecture

114

Neighbours, outdoor space and apartment types

The building viewed from Stadhouderskade

Facade: left, front, right, rear

115

Femke Poppinga

Architecture

116

Bas SchuitTime for spacea patio for the city

117

Bas Schuit

Architecture

118

Heaven has come down and is all around us, in shards on earthKees Fens: writer/critic, lived in the Chassstraat and parishioner of the Chass Church.

Life in inner cities is under more and more pressure because of the increase in density and because society focuses on the individual, growth and achievement. I started this graduation project with my personal experience, when I needed a place in the city where I could escape the everyday buzz.Amsterdam West is an area where public space is used intensively. Wouldnt it be great to have a place where you could literally take some distance?

In addition, the municipality of Amsterdam recognises a need for urban oases that form buffers to surrounding noisy or active places. People can use these oases to wander, stare, think, catch a breath or recharge themselves. And today, because of the declining role of religion in society, people are increasingly searching for meaning in life. That is why, as Nietzsche stated in 1882, we need open spaces with arcades where we can dwell in ourselves.

I used the unoccupied Chass Church to create such an urban oasis. This is a huge public building, an institute that gave context to life. Opening up its structure can give new meaning to this memory of religion and house a new sort of public space. By treating the building and its surroundings as a landscape, the occupant can now freely use the site with its lanes, fields and vistas. Three zones or rings are introduced to structure the site and give more depth to how it is experienced. These rings create spaces, make routes and form boundaries, giving step-by-step guidance to the users away from the bustle of the city.

The first ring is the most public, one step away from the concrete jungle. One walks onto the gravel surface where there is space to meet beneath the sycamore trees, play jeu de boules under the chestnut trees, or remember the thoughts of Kees Fens at his monument. A few steps up from this field you stand between the arches of the buttresses of the old church, about to enter the patio garden. You can walk around, cross the main paths or walk the narrow paths to reach a bench in the middle of the plant beds. The new focal point in this patio is a linden tree, traditionally known as a protector of the community.

At the back a monumental staircase rises 4.5 metres up to the 7-metre-high concrete ring with its closed outer facade. Light plays a specific role in walking through the space between the old church walls and the concrete facade. It offers guidance by lighting up the corners, changing moods throughout the day, and lending character to the different places, which vary from a completely open view of the courtyard, to filtered views, to no view at all, making it one of the most secluded public spaces in town.


Commission membersAd Bogerman (mentor) Ira KoersBart Bulter

Additional members for the examinationFlorian SchrageGianni Cito

Bas SchuitTime for spaceA patio for the city

119

Bas Schuit

Architecture

120

Creating distance from your everyday life

Cross section, showing gravel field, patio garden and concrete ring

Chasskerk, front view Chassker, interiourChasskerk, side view Chasskerk, section

Using space for staring, wandering, etc. Reference: Mariavall, Sweden Urban oasis as buffer Concept model

121

Bas Schuit

Street view, showing open field, patio and concrete ring

Vista from balcony, literally taking some distance from the city

Architecture

122

Arcade walkway

Pool with light from above, a completely secluded public space

123

Bas Schuit

Greenery creates intimate spaces in patio

Personal space along the arcade with filtered view into patio

Architecture

124

Immanuel Kwaku Sirron-KakporVoltascapes: Re-thinking ModernityRedevelopment proposal of Danyigba, a Volta Region New Town in Ghana

125

Immanuel Kwaku Sirron-Kakpor

Architecture

126

In the years shortly after Ghana gained independence in 1957, modernism was made instrumental in preparing the country for a promising future. To cater for rising energy consumption, a huge power dam reservoir was built by making use of a catchment area of the Volta River. Many villages in the area around the original river needed to be relocated to make this possible. An international team of planners and architects developed the blueprints for this major operation. A large percentage of these plans have been executed, although not always according to the original ideas. At the moment, approximately fifty years after the commencement of the Volta River Project, one can conclude that the foreseen development hasnt reached the area or its inhabitants.

The plans implemented by the Volta River Authority (VRA) for the resettlements have failed, because they neglected the existing culture while modernist ideologies were imposed upon the community. Strict division between functions, a formal and rigid educational system, strict control of building that prescribed materials and types of houses: all of these were ingredients in a forceful development plan that lacked a link with the people it was developed for.

The redevelopment needs of Danyigba bring to the surface the successes and shortfalls of the original top-down plans. Rethinking Modernity aims to develop a bottom-up strategy at several scales for Danyigba, one of the cities of the resettlement programme. This strategy may lead to a meaningful perspective for the local community.

A master plan was designed and an urban axis developed, spanning between a community centre and a training institute. Additionally, attention was given to housing along the axis to illustrate how the strategy could be implemented here.

The redevelopment plan for Danyigba repairs these failures by implementing a model that goes beyond building and defines a new role for the architect. The redevelopment plan restructures the existing and weaves in new elements and impulses that may ultimately generate new forms of income, self-training, reconnection to the outside world and general development.

Education is a key driver of development in the proposal. Practical training for building, health care, car repair, beauty, fashion, etc. is intertwined with basic theoretical education on reading, writing, mathematics, etc.

The proposed buildings make innovative use of local materials and skills, and borrow from other professions, like boat building and weaving of fishing nets. The steps to the realisation of the buildings are planned through an educational workshop run by the architect, through which a local training group is introduced to harness new innovative building skills, resulting in the realisation of the first buildings. The builders will play a role in the next steps in the development plans, either communal or private. Design principles are based on local uses, materials and climate conditions and form a strong basis for the buildings, turning the architect into an enabler.


Commission membersBerend van der Lans (mentor) Janneke BiermanChris Scheen

External commissionersJoe Osae-Addo

Additional members for the examinationBart Bulter (chair)Tom Bergevoet

Immanuel Kwaku Sirron-KakporVoltascapes: Re-thinking ModernityRedevelopment proposal for Danyigba, a Volta Region New Town in Ghana

127


second skin

construction

core skin

the base

Headmaster House

Architecture

128

Backbone lane model

rezoning concept

Reinvent traditional building methods and local materials

Danyigba

Danyigba

TAMALE

Obuasi

Prestea

Tarkwa

Akwatie

KibiTafe

SekondiCape Coast

HO

KOFORIDUA

ACCRA

Kaiser Engineers Reassessment proposals and subsequent construction. 1959 - 1966

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KUMASI

Takoradi

Akosombo Dam & Power House

Tema Sea Port and Smelter

Eco Farm

Eco Farm Re-BlockingZone B

Zone BRe-Blocking

community greenary

Host City

Back

bone

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e

community greenary

Loss of identity No feeling of ownership Less community bonding Unable to build and maintain the community Loss of craftsmanship use of local material and building methods Internal immigration - Urbanisation

Design Problem

Modernization of Ghana and Volta River Authority Project

Research Location

129


Node program

Concept

Urban axis - Backbone Lane

Social economics

KEYWOORDS

Environment

Building matters

Landscape, Sun and Wind

Generic building method = Reinvent traditional building methods with local materials

Attractive social economic , living and learning environments

Garment makingTailoring and Fashion Design

Automotive engineeringAuto-mechanic, Auto-welding and other allied auto-engineering services

Building ConstructionMasonry, Carpentry, Aluminium and Metal fabrication, Electricals

HealthNursery and Pharmacy

CosmetologyHairdressers andBeauticians

Aqua & Agriculture

Plant Nursery

Fish Breeding & Nursery

departments under one roof/one gate compus

network of departments

Garment making

Cosmetology

Health

Automotive engineering

Building Construction

Tailoring and Fashion Design

Aqua & Agriculture

Auto-mechanic, Auto-welding and other allied auto-engineering services

Adult education

Masonry, Carpentry, Aluminium and Metal fabrication, Electricals

Nursery and Pharmacy

Hairdressers and Beauticians

Fish Breeding & Nursery, Plant Nursery

Basic Numeracy, Literacy Training, Library, ICT

Adult educationBasic Numeracy, Literacy Training, Library, ICT






Aqua & Agriculture

Plant Nursery



EDUCATIONAL PROGRAMME

THEMATICPROGRAMME

DYNAMIC LANDSCAPE OF EDUCATIONVillage as network of educational facilities

collective

public

private

+ + =

PERFORMING AREAFOR CENTRAL STAGING

Ou

tdo

or

colle

ctiv

e p

rog

ram

Headmaster Housing



Aqua & Agriculture

Plant Nursery



EntranceParking

CafetariaAmphitheatre

Amphitheatre

Toilets

Water

Clothes washing

Landing Stage




CHIEF/QUEEN HOUSING

CHILDREN DAYCARE CENTRE

EntranceParking

Toilets

Cafetaria

Administration PERFORMING AREAFOR CENTRAL STAGING

eadmaster Housing

EntranceParking

GarmaTailoFash

CHIEF/QUEEN HOUSINGG

Addmin

Architecture

130

Housing: Re moulding VRA housing typology

Waterfront: wood/metal workshop with headmaster house Remoulded Housing with crafts studio Community Center

Community Center

131


low tech

applied high intelligentThe House: Architectural Craftsmanship

The Village: Urban Development StrategyThe Backbone Lane: Urbanism

VRA

Current DanyigbaLost of identity re-thinking modenity

Danyigbae - Crafts Villageorganic growth

Top down approach

bottom up strategic approach

Role of Architect

Breeze in Morning and Late Afternoon Mid afternoon heat escape upper ventInterior Stack heat escape through roof vent

Double roofing skin and lager window opening for for natural ventilation system

The People

Architecture

132

Alena UlasavaIncubator 2.0Building Typology for Start-Up Businesses

133

Alena Ulasava

Architecture

134

R&D departments of multinational companiesMy graduation project is about the design of a building and a site where potential start-ups in the field of fundamental research are brought together with entrepreneurs and where this research can thus translate into products. What is essential is a building where these two groups meet, challenge and collaborate with each other, a building so badly lacking in the current Science Park in Amsterdam.

Translation into spatial design project The challenge lies in developing a spatial model that not only offers accommodation to existing start-up businesses but also facilitates the emergence of these businesses and allows for encounters between researchers, businesses and other stakeholders such as students and entrepreneurs. The new incubator model creates the conditions for the emergence of a business ecology and new start-up firms, thanks to the combination of introvert and extravert working processes and groups of people.

Design principlesA certain critical mass is required for this initiative. I devised a concept for a generic entity made up of the building and related outdoor space the typological cluster.

Urban contextThe Science Park lies in the northern half of Watergraafsmeer and consists of two parts: the area of research institutes (AMOLF, NIKHEF and CWI) and the area with university faculties (FNWI). Kruislaan is a central axis that extends from Watergraafsmeer Polder beneath the railway shunting yard through the site, splitting it into two parts.

To develop the area between the university building and the institutes and establish connections, two clusters of 32,500 m2 are needed according to my analysis. In my graduation project, these 65,000 m2 are interpreted as an urban design context that links these two parts of the Science Park. A large laboratory building and the new incubator are positioned on the university side. The new incubator is elaborated here.

ArchitectureThe building admits all sorts of people and is alive 24 hours a day, in part because researchers stay late into the evening. The essence of the building is therefore to stimulate interaction between (introvert) researchers and entrepreneurs. All the primary functions such as laboratories and workspaces facilitate encounters, culture and public amenities.

Transparency as a theme for materials A building always has a skin that separates the indoor and outdoor climates, and for regulating admission (the entrance threshold view of activities taking place inside). That is why transparency is important in selecting materials for the building based on a low threshold and open character


Commission membersLaurens Jan ten Kate (mentor) Albert HerderMarkus AppenzellerDominic Papa

Additional members for the examinationMadeleine MaaskantRik van Dolderen

Alena UlasavaIncubator 2.0Building Typology for Start-Up Businesses

135

Alena Ulasava

Birds-eye view

View from south-east

Architecture

136

Kruislaan

Image caption Image captionImage caption Image caption

Current typologyScience Park Amsterdam with the polder corridors

innovatieve business ecologieInnovative business ecology

137

Alena Ulasava

Basic module for commercial research laboratory and office space for existing companies (narrow floor plate of 16.4 m)

Basic module for fundamental research laboratories and start-up businesses (wide floor plate of 32 m)

7200

vide

9000

7400

7000

7000

54002000

2000

8300

7200

9000

7400

72001800

54002000

B. start-up businessesD. main research lab

C. existing businesses

A. support research lab

3D printing centreUvA study centre

Hotel

restaurant

Architecture

138

View of club space and roof terrace

View from balcony at commercial lab

View from bookshop

Heart of building (living room for start-ups)

View of entrance

doorsnede

publiektoegankelijk gebied

3D printing centre, workshopruimte

restaurant

hotel

congress centre

technische ruimtes

fietsenstalling

Ground floor 1:200

1st floor

2nd floor 1:200

3rd floor

5th floor

Area open to public3D printing centre, workshop space

restauranthotel

congress centretechnical spaces

bike shedcommercial research laboratory

fundamental research laboratorystart-up businessesexisting businesses

139

Alena Ulasava

Entrance from Kruislaan

Entrance from UvA

north-west facade

solar shading principle

volume 1

volume 2

facade modulesbasic unit of curtain wall and solar shading principle

Architecture

140

Jesse ZweersLabLoodsReprogramming the vacant Lasloods into a big urban space and transforming from big into small spaces.

141

Jesse Zweers

Architecture

142

The LasLoods is a project about the big scale and flexibility of urban interiors and about one building as a city. It is an experiment that transforms a vacant factory shed into a laboratory for urban life.

For this project I studied how to increase density of the western section of the IJ banks, and I looked at how the NDSM, and in particular the Lasloods, can contribute to this. The industrial and functional character of the NDSM area and the hard-surface site containing huge objects an ensemble of four monumental warehouses makes this area a unique urban context. That is why I drew up a new urban plan for the Lasloods with a Floor Space Index of 2.5 / 17,500 square metres of mixed cultural programme that still leaves half of the warehouse empty for events.

Connecting the warehouse to the outdoor space creates urban continuity that acquires a diagonal dimension inside the warehouse. A spatial change in scale gradually transforms a number of large spaces into a multitude of small spaces. The design is experimental in character and paradoxical. Strong interventions that are subtly detailed make a clear and minimalist appearance of a complex programmatic and urban condition. The plan resulted in a hybrid building that investigates urbanity, context, scale, flexibility, interior and exterior through architecture.


Commission membersTom Frantzen (mentor) Sander LabKamiel Klaassen

Additional members for the examinationBart BulterKlaas Kingsma

Jesse ZweersLabLoodsReprogramming the vacant Lasloods into a big urban space and

transforming from big into small spaces.

143

Jesse Zweers

Architecture

144

M

145

Jesse Zweers

Structural axonometric

Programme diagram

Design steps

Flexible arrangement Facade detail

Architecture

146

1

1 2 3 4

4

3

2

147

Jesse Zweers

5 6 7 8

8

7

6

5

148

Getting involved

Marieke Timmermans Head of Landscape Architecture Department

149

The project illustrates the direction taken by landscape architecture at the Academy of Architecture: the landscape as a cultural project. Players in the landscape are accorded roles, the poetry of the landscape forms an element in the design, and large complicated problems are reduced to easy-to-grasp strategies.(graduation committee of Marit Janse)

By recognising, re-evaluing and reorganising existing qualities, this years graduating students find beautiful and convincing solutions that add new meaning to the landscape. The tendency noted by the committee is much in evidence.

The graduation projects deal with the sustainability of our cultural landscapes, with the innovation of urban green structures, and with the importance of economic value in nature development. The good thing about this shift in graduation focus is that the same subjects are sometimes tackled from opposing positions. For example, opposite the strategy to maintain the cultural landscape of Maramures by Marlies Rijken, who comes up with small interventions to redevelop old landscape elements, there is the collapse of the functioning of the cultural landscape of Waterland, as viewed by Patrick Ruijzenaars, who totally transforms the open meadow landscape into one big forest. Two courageous projects, each of which questions current developments: Marlies by drawing up a strategy for preservation, even though drastic changes are already in evidence in the area; and Patrick by proposing fundamental changes, even though a conservative approach has had a stranglehold on the landscape for decades.Urban green structures are also analysed from two opposing positions. Pauline Wieringas totally flexible and moveable system of small park components responds to existing qualities, while Philomene van der Vliets proposal anchors existing qualities by threading them together to form one big urban green structure. Two extremely clever strategies that achieve a strong impact using limited means. Realistic and feasible, especially in the current climate. Two different answers are offered to the question whether nature can represent

economic value. Increasing the value of nature by linking it to the local economy of Oosterschelde, as Marit Janse proposes, is countered by attracting new users who are interested in nature for their own reasons, which Ramon Postma proposes. These elegant approaches see nature development as a driving force behind area development. Claire Laeremans recognises the value of forgotten elements of the industrial past in Flanders. Her plan is a strategy of re-evaluation to reverse the negative spiral in which the landscape finds itself. She presents her vision in a wonderfully poetic book that sweeps the reader along on a journey through a desolate region to discover how the ruins of former industry create an exceptionally coherent landscape. A landscape that, with just a few interventions, is ready to welcome new uses and where nature development, water retention and recreation find their place. Claire took on this assignment in a highly personal manner by living for a period in the area under study, allowing her to gain a fuller understanding of life in a forgotten region.

graduation projects 2012-2013 pod version

Documents

wishes architecture

graphic designer

interior designer

product designer

fashion designer

city motion

vinex market

grand landscape plans