Amsterdam Academy of Architecture, 2011-2012 Graduation Projects

Amsterdam Academy of Architecture Architecture – Urbanism – Landscape Architecture

2011-2012 Graduation Projects

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Contents 4 Foreword, Aart Oxenaar 6 Experi­mental urge, Ronald Rietveld

Architecture 12 The new architect? Machiel Spaan

16 Sous Le Sable, Anna Allis 22 Reversed Boogie Woogie, Donna van Milligen Bielke 28 Wetering transfer point, John Bosch 34 ‘The escape’, Hilda van Gortel 40 The representation of democracy, Martijn de Groot 44 Youth detention in the neighbourhood, Geurt Holdijk 48 The Nest, Sylvia Hop 52 Acting [in] the city, Jolien Huberts 56 ‘Whoever plays in the city, just make sure it’s the children’, Pascal Köllmann 60 New Housing in Amsterdam, Egle Matulaityte 64 A secret revealed, Bas Obdam 68 The police station, Jan Pieter Penders 72 Heavenly haven, Nicolien Pot 76 RefugeART project, Adrian Puentes 80 ‘Zutritt Verboten’, Ricky Rijkenberg 84 Benjamin Robichon, Benjamin Robichon 88 Living that caters to Korsakov patients, Jelle Sapulete 92 The public tribunal, Victor Spijkers 96 Nationale balletschool, Tara Steenvoorden 100 B cloud: a library for Zwolle, Janita Stoel 104 Caracas: an urban path, Alexandra Vocht

Urbanism 110

Economies of Scale, Rogier van den Berg

114 Relocate, Marijn van der Linden 118 A breakthrough for the Dutch coastal resort, Miriam Verrijdt

Landscape Architecture 124 Rethinking, Marieke Timmermans 128 Reclaimed dynamics, Anne-Fleur Aronstein 134 Rising Land, Jorryt Braaksma 140 Eat your view, Michiel van Driessche 144 Langeveld coastal estate, Rianne Glas-Sjoerdsma 148 New Arcadia Amsterdam East, David Kloet 154 A dynamic delta for Amsterdam, Katinka Pricken 160 Bluemotion, Frank Rietveld 164 Primadomus, Nadine Schiller 170 Jury report on Archiprix 2012 nominations, Aart Oxenaar

Academy of Architecture 174 Master of Architecture – Urbanism – Landscape Architecture

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Research – Reflections – Projects 08

2011–2012 Graduation Projects

Amsterdam Academy of Architecture

Foreword Aart Oxenaar Director Amsterdam Academy of Architecture

We are pleased to present to you a new generation of architects, landscape architects and urban designers, all of whom graduated from the Amsterdam Academy of Architecture in 2011-2012.

This young generation of designers finds itself in a new economic situation. A demand market has replaced the supply market. Demand, however, will not be determined by the same parties as in recent decades. Major institutional clients and public bodies are making way for smaller, more individual clients and for a growing number of collaborative projects that bring together groups tackling similar building tasks. In other words: small-scale, cooperative forms of commissioning are increasingly replacing collective, large-scale patronage. What we see is a shift from the top-down managed development and design of space to a more bottom-up approach. On top of that, the nature of design assignments is changing along with the market.

In recent decades the traditional adage of ‘programme seeks building’ held sway. Now, however, demand has altered fundamentally, and the objective in the years ahead will be reflected by ‘building seeks programme’. So the boom in built volume in recent decades has – unwittingly and unintentionally, but also rather ironically – helped shape the nature of the assignment in the current period of scarcity. It goes without saying that this change of paradigm is an extremely relevant and exciting challenge for architects, urban designers and landscape architects.

Concepts such as reuse, redevelopment, regeneration, restoration, densification and transformation now dominate discussions. Each and every one of these concepts poses a direct question to designers. For it is precisely in the manipulation of existing spatial structures that the expertise of architects, urban designers and landscape architects proves indispensable. They must realise however, that it’s not just the market conditions and the nature of assignments that have changed. So too have the types of commission designers are set.

The times we were projecting grandiose concepts onto the spatial order are over. So is the age of radical interventions. Questions posed nowadays appeal to the ability of designers to deal with complexity. Not only of society in times of change. But also of a given building, a existing neighbourhood, or a living landscape that must be adapted for future needs, working with modest means and little programme.

And that, yet again, calls for bigger ideas, broader perspectives, visions of the future, or even dreams. But dreams that can become reality on the basis of the small, the shared and the physically feasible.

We are convinced that this graduation work shows that the generation of designers now entering the marketplace is ready to take up that challenge.

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Experi足mental urge Ronald Rietveld visiting critic

Introduction

When you graduate, it is important to work on a project that appeals to your fascinations. You should challenge yourself and push the boundaries of your own abilities. If you don’t, this ought to be the moment to reconsider what you are doing and ask, ‘Do I really want to work in the world of architecture?’

Fascination and dedication have always been important, but they are essential at a time when half our colleagues are unemployed. A good job in the field of architecture is no longer a given for architecture students. The time when the sky was the limit is over — and they won’t be coming back soon, if ever. Consider, for example, the demographic changes we face in the decades ahead, the environmental and financial crises that affect us, the lack of any clear vision on urban planning from the government. All these societal, political and economic developments call for a new and exploratory attitude among architects. Apart from answering clients’ questions, architects will sometimes have to define their own questions, and, in the absence of a commissioning party, will have to act as their own client. It will be architects who seriously look for their specific role in society and the way in which they can make a contribution.

But exactly these times, right now, provide opportunities. They provide freedom to experiment and work on your own fascination and combine it with a healthy dose of engagement. The fact that architecture and design in general can contribute to societally relevant issues is clear by now. This was also the starting point for the founding of our office, which operates at the crossroads of architecture, art and science. We wrote a manifesto that emphasised the role of designers in providing solutions for societally relevant issues. An attitude of engagement that is not based on a dogmatic idea but, paradoxically, on thinking utopian and designing speculatively while retaining a sense of reality. It was not uncommon for us to provide unsolicited advice, at a time when the sky still was the limit and everybody just kept on going, sometimes as a slave of the project developer. There was no need for fundamental questions back in 2006. How different the current situation is, a crisis situation in which famous architects who would rather merely build icons feign societal engagement at the Venice Biennale.

Precisely by tackling complex issues and working together with people from science, technology and other relevant specialist fields, you discover new insights. It is no coincidence that many great architects who paved the way for fundamental change came from outside architecture and had backgrounds in other fields. They were furniture maker (Rietveld), artillerist (Vitruvius), philosopher (Wittgenstein) or journalist (Koolhaas), to name but a few examples. Long before the crisis we were already of the opinion that 7

Introduction

many of the relevant questions related to the spatial design disciplines couldn’t be formulated in the traditional architectural field. Questions like: how can we achieve social cohesion in urban public space again? In what way could vacancy contribute to the agenda of political innovation? How can we contribute to a healthy living environment through design. How can we work with an ageing society? In order to provide answers, it is essential to experiment throughout your career. With graduation, things don’t end; they just start.

What is crucial in these new times is to create new perspectives. Thinking can find its way from small to big (as it did with Rietveld), or vice versa.

Even at the smallest scale it is important to realise what the possibilities of an idea can mean at a bigger scale. I have a profound belief in the value of a certain naiveté that often underlies good graduation projects. Many colleagues look back on this trait as something negative. But precisely in that aspect, in the naiveté, in the experiment, in making mistakes, lies the starting point for genuine innovation. That’s why every year I look forward to the nominee designs for the Archiprix award. Many colleagues, including some past Archiprix winners, make the mistake of suppressing or losing this experimental urge, and move on to entrepreneurial working environments too quickly. They are looking for new orders from their bosses or clients, whereas they should first try to explore new ways. Of course knowledge and experience are important, but experimentation should not be overlooked.

This is the big task for the education of coming generations. Another aspect that is important in this regard is to seek new insights in the art world. I have heard great stories from current students about the form studies at the Academy, which involve artists. I would argue for a situation in which projects are considered not only by the tutors in question but also by artists, by people who view the same architectural issues through a different lens. I am convinced that attracting the right artists for this would make the work a lot more exciting. It should be kept in mind that it is not called the ‘Academie van de Bouwkunst’ — which literally means ‘the art of building’ — for nothing.

Students who graduate here should be a step ahead of students from other academies, artistically as well in terms of content.

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Archite

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ecture

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The new architect?

Machiel Spaan Head of Architecture Department

The new architect?

Every once in a while there is a commonly shared feeling that everything has to change. After a pioneering discovery, the invention of new technology, an economic recession, or an energy crisis. We now find ourselves at such a point in time: European depression, new digital drafting systems. And a national surplus of buildings, which has not only halted construction but also forced us to seriously ask what we should do with all those vacant monuments, offices and churches. What is expected of the new architect in this day and age? And what are the themes that he or she should be addressing? Some 22 students of architecture at the Academy of Architecture formulate answers to these questions in their graduation projects. These students are tomorrow’s generation. The new architects of today.

Each graduation assignment is initiated by the student alone. The student places his or her own themes and issues on the agenda. The architect takes the initiative like an entrepreneur, looks and finds a relevant question.

The architect is an individual, with a personal language and expertise, and deploys these to create a unique and visionary design. Most of the projects are located in Amsterdam, an urban environment in which current architectural problems manifest themselves. Urban transformation and renewal calls for made-to-measure responses, careful and sustainable interventions and good amenities. The ‘architect as journalist’ interrogates the residents and users of the city, sets up alliances, and uncovers relevant issues.

Some of the students transform existing buildings. An abandoned structure possesses hidden qualities. The ‘architect as researcher’ exposes these qualities and deploys them in a new design. It is about contextual thinking and acting without ego. Looking for new and dynamic strategies and scenarios that breathe new life into an existing building. Seeking organic growth models for a building, a complex, a neighbourhood or a landscape.

The students renew centuries-old building typologies. The ‘architect as designer’ learns from what exists and improves on building typologies, making them suitable for future needs. The public building becomes a sustainable catalyst for urban renewal and social advancement. It anchors itself in the city and in its inhabitants. It creates places where people can meet one another, engage in dialogue and help one another. Recreating the building typology is a genuine task for the architect. Typologies continue to develop, based on a thorough study of what exists.

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The new architect?

Students design space with meaning. Existing material is deployed as a tool.

Material encloses space. It supports buildings. It constructs façades. The structure and form of buildings are discovered through material. Just like space, material is a basic tool of the architect. As a shaper of space, the architect possesses a knowledge of the properties and the atmosphere of the materials applied: new and innovative materials, traditional materials, reused materials. He or she explains the consequences brought on by building.

The new architect is generous and professional. He or she is a serious practitioner of the profession, with a knowledge of repertoire, the city, the occupant, the space and the material. A designer with an inquisitive, critical and enterprising mentality. The architect with pleasure in work. Someone who looks, talks, collects, makes, draws, constructs and writes.

And above all, the new architect is a flâneur who scours the city in search of times past, images of the present, and questions for the future.

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Architecture

Anna Allis Sous Le Sable Souvenir of a light city The framework for the project is the speculation that in the year 2214 archaeologists will find a book containing a compilation of countless images, sketches and stories about a so-called ‘light city’ in the Algerian Sahara. Based in part on true historical facts, and in part on the fictional narrative of the past, the present and the future of the light city, the story still offers many archaeologists food for thought 205 years later.

‘A sustainable, temporary “light city”, which contrasts with the once popular, modern, big airport that has grown to become an energy-devouring machine that only wanted more and more of everything — more energy, space, commerce, buildings, traffic and people.

Everything was geared and was subservient to the arrival, the existence and the growth of the airport.’

A fictional lookback describes what the effects on urban development in the Algerian Sahara if a sustainable airport was to establish itself there. The construction of the airport as a temporary airstrip enables it to relocate and to generate water so that settlements or other ecological developments can flourish around the strip. Over time, the airstrip slowly leaves a trail across the desert.

The effect of the incorporation of the sustainable, nomadic airstrip in the desert is the subject of this project.

The careful design of the effect, which leaves absolutely no damaging traces behind, is an attempt to reduce unemployment, introduce tourists in a sustainable manner, make the area economically stable and less dependent on fluctuations, protect the area against the advancing sandy plains of the desert, reintroduce the nomadic tradition in the region, solve the problem of water shortages, strengthen biodiversity, make the most of the qualities of the surroundings and not destroy them but rather embrace them, and create space for inventiveness and coherence.

The airport works as a positive catalyst for its surroundings, which does not lead to alienation this time but ensures that a fertile trail is left behind that can help the area solve its instability problem. There is no final image. Instead, interim developments are pursued.

Both the airstrip and the trail it leaves behind are temporary, not harmful, and can disappear beneath the sand.

Graduation date 23 02 2012 Nominated for Archiprix 2013

Commission members Jan-Richard Kikkert (mentor) Lada Hršak Jord den Hollander

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Additional members for the examination Bart Bulter John Lonsdale

Anna Allis

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Architecture

Criticism of contemporary building: fast, big and damaging.

Criticism of contemporary permanent airport: egotistically destructive machine.

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Anna Allis

Settlement of degradable material that disappears beneath the sand, once the airport and its residents have moved on.

Sustainable temporary airport that generates water by collecting rainwater and dew that can trigger developments.

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Architecture

Phase 0 Existing situation in Algerian Sahara: sediment ripples made by the prevailing wind.

Phase 1 Sand ripples shifted by air pressure by presence of first airplane.

Phase 2 Start of a settlement by water-generating airstrip of Kevlar that attracts people, traders, tourists, etc.

Phase 3 Creation of water buffers that collect, store and distribute rain/dew.

Phase 4 Settlement of biologically degradable material created beneath moving sand; sand is then used as a construction and insulation material.

Phase 5 Positioning the settlement cleverly in relation to the wind and the sun results in changing shaded streets throughout the day.

Phase 6 When the nomadic airstrip is relocated, because the settlement has reached its maximum size or because the airstrip can be used better elsewhere, people and some buildings trek with it. That creates space for new forms of life on the existing site, like holes in a carpet.

Phase 7 Leaving behind the existing biodegradable plastic water buffers slowly strengthens the ground and turns it into a rich source, thus making the desert more fertile.

Phase 8 Even over hundreds of years, new water structures can emerge. Futuristic airplanes powered by biological oil can land on water in the future.

Phase 9 And in the end the settlements can vanish totally beneath the sand, if tourists no longer come or even if no big airstrip is needed in the future.

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Anna Allis

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Architecture

Donna van Milligen Bielke Reversed Boogie Woogie

The city hall is the engine of Amsterdam. This is where decisions are made that determine the direction of the city’s development. A city hall should be a representative and functional building that enhances the city.

The city hall has a public function and is part of urban life. That is why the building must be open and easily accessible. In the case of the Amsterdam city hall, the addition of various functions such as the opera, metro station and the Waterlooplein market can contribute to this.

This graduation project reacts to the existing ‘Stopera’, which houses the city hall and opera at Waterlooplein in Amsterdam. The Stopera is a building that wants to be public but doesn’t achieve it. It will never be a real public building owing to its composition of separate elements and a connecting street that doesn’t connect anything. Some people are even annoyed by the building.

The starting point for this graduation project is the recognition of the scale of this big, hybrid building. Rather than obscuring its dimensions, the project instead enlarges its size: a big volume, hermetic at first glance, classically proportioned. In urban design terms, the building has sharp boundaries so that it is recognisable from outside and exudes a certain representative quality.

The building connects with surrounding streets, alleys and quays. The volume is hollowed out from these openings. Surrounding routes extend through the building along a sequence of spaces. The building becomes the support structure for a new public space that provides access to various functions.

The public route is composed of outdoor spaces (squares), semi-outdoor spaces in the form of colonnades or forecourts, and interior spaces (in-between spaces). The alternation of different climate conditions blurs the boundary between inside and outside at building level. The public space transitions into semi-public space, which then connects with the closed programme. The relationship between window and blank wall gives the pedestrian in the building simple but effective information about the public nature of the various functions.

A building-city or city-building, a project placed so precisely on the border between urbanism and architecture that one can no longer say which of the two it concerns.

Graduation date 10 07 2012 Nominated for Archiprix 2013

Commission members Jan-Richard Kikkert (mentor) Chris Scheen Hans van der Made

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Additional members for the examination Madeleine Maaskant Rik van Dolderen

Donna van Milligen Bielke

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Architecture

Existing programme of Stopera

Hard urban borders by turning the programme inside out

Blurred borders as a result of addition of public network, gradient in public character and different climate conditions

Plan of ground floor, with gradation in public character: the darker the plan the more closed the programme

Massive representative building

Sequence of spaces as public network

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Donna van Milligen Bielke

Site plan

Distant view from Staalstraat

Close view from Meester Visserplein

Interior image of public route, sequence of connected public spaces

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Architecture

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Donna van Milligen Bielke

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Architecture

John Bosch Wetering transfer point

Over the years the Wetering public garden has transformed from a lush park into a chaotic traffic intersection. The open green area on the site of the old city wall, at the junction of Vijzelstraat and Weteringschans, is now crammed with cars, trams, pedestrians and cyclists. Besides the enormous chaos that results, another two public transport connections will soon be added: the North-South metro line and the East-West line.

In the future, bike and public transport will play an increasingly big role as far as accessibility in Amsterdam is concerned. These take up relatively little space and cause little disruption in the city centre. However, the bike is not the preferred mode of transport for middle-distance journeys.

Public transport will have to cater for such journeys, in part because the centre of Amsterdam will be unable to provide enough capacity for cars in the future.

The problem with the intersection at present is that many traffic flows cross one another on the same level. And the lack of any clear organisation means there is a lot of commotion.

With the help of the building volume, which will be realised thanks to the new station, traffic flows can be channelled, slowed down or blocked. The building links directly with Vijzelgracht Station and acts as a gateway structure, through which the traffic moves, supported by the programme at ground level. These openings or gateways in the monolithic volume will channel or separate the different flows of traffic.

The design ensures that daylight penetrates deeply into the underground metro stations.

To realise this, the building volume features a large void that allows light to reach deep into the building. Two car park levels around the light court above the tracks below ground, and four levels of hotel rooms above ground are proposed. No specific programme is added at ground level. The building functions purely as a transfer point that reorganises the complicated transport intersection in a clear manner. The light court creates the spectacular effect of a canyon that lends drama to the traffic movements.

The building works as a metropolitan traffic machine by intensifying traffic movements along the galleries to the hotel rooms and through the car park, pedestrians crossing, cyclists and trams moving at ground level, cars passing by, and the metro lines and platforms running at the lowest level. The building is arranged in such a way that the metro station, the garage and the hotel are connected to one another.

To enhance the functioning of the traffic machine inside, the building reads as a monolithic gateway structure in which traffic flows are organised smoothly. As a result, the project forms a symbiotic entity for the Wetering public gardens and the city of Amsterdam.

Graduation date 03 05 2012

Commission members Chris Scheen (mentor) Bart Bulter Daan Petri

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Additional members for the examination Lada Hršak Jarrik Ouburg

John Bosch

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Architecture

Section 1

Level 1

Scheme canyon

Level 0

Level -1

Isometric

Level -3

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John Bosch

Section 4

Section 1

North elevation

Metro station

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Architecture

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John Bosch

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Hilda van Gortel ‘The escape’

Architecture

Hospice for youths A hospice for young people is a house for terminally or chronically sick people aged between 18 and 35 years, where they receive intensive care and guidance in the final stages of life. Hospices for children and for adults already exist, but there is no such institution specifically for young people, even though they have totally different needs to children and older people.

The healthcare sector is dominated by repetition and lack of individuality. This is at odds with the variety of needs. The limitations imposed by an illness create an increasingly smaller world for patients, and the way they experience a building thus becomes increasingly more intense and important. The building frames the patients’ entire world of existence, so to speak, and it should therefore be as rich as possible in terms of their experience of spaces so that it can respond to their various frames of mind.

In addition, it is important that the young people retain a sense of independence for as long as possible, and that loneliness is prevented by encouraging interaction with the neighbourhood and amongst the residents.

Inside the building there are four different types of space that vary in degree of intimacy.

There are two commercial functions, a bookshop and an ice-cream parlour. These are places where locals and residents meet one another. Collective areas are the circulation spaces and shared spaces where activities take place and where residents can easily make contact with one another and with visitors. Plenty of daylight penetration, large openings, vistas and through views establish relations with the surroundings, the courtyard garden and the market. The dwellings are all different. They are places into which residents can withdraw, where the atmosphere is more intimate, with a number of small façade openings offering views of the neighbourhood. The most intimate space is the hidden space, a secret space, invisible, closed off from the surroundings, illuminated from above only, the place for escape, meditation, and peace and quiet.

Garduation date 29 08 2012

Commission members Judith Korpershoek (mentor) Rob Hootsman Ira Koers

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Additional members for the examination Micha de Haas Bart Bulter

Hilda van Gortel

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Architecture

Not seen

Relation with the courtyard garden and the market

To see and not be seen

To see and be seen

Daylight

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To see and meet

Relation between interior and faรงade

Dwelling

Relation between interior and faรงade

Faรงade openings of hidden space

Hilda van Gortel

Housing

Collective space

Hidden space

Bookshop

Ice salon

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Architecture

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Hilda van Gortel

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Architecture

Martijn de Groot The representation of democracy Repurposing an office giant The high volume of unoccupied office space is a social problem that will only increase in the coming years. Repurposing these spaces is therefore an important area of work for the coming generation of architects.

In this graduation project I have conducted a study into effective design strategies and the possible conversion of the former and currently vacant KPMG head office into a town hall for Amstelveen.

Measuring over 400 m in length and with a floor area of 47,000 m2, the building has been much in the news recently as a frightening example of vacancy in the office sector. It lies right beside the town centre of Amstelveen on one side of the A9, the motorway that cuts a swathe through the town.

The KPMG building is a typical office design by Alberts & Van Huut owing to its combination of a rational plan arrangement and organisational styling. An underpass for cyclists and pedestrians runs through the centre of the huge building.

Located directly above it is the heart of the new programme: the council chamber with spaces for the mayor and aldermen and the council factions. The spaces that are representative of the town’s administration form the heart of the building.

The two courtyards on both sides of the central volume are accessed from the underpass.

The courtyards are transformed into a public hall and a green courtyard surrounded by spaces such as the library, town archive and marriage rooms. Where permissible by the structure, the façades are perforated by big openings onto a gallery that provides access to various public functions. Whereas the outer façades previously functioned as a physical separation between inside and outside, the new façades now act as filters for visitors. The courtyard structure is exploited in a well-considered manner to offer access to the parts of the town hall that differ strongly from one another.

A few strategic interventions turn an office building into a town hall with a totally different feeling. This also applies to the location of the building. Whereas it was previously set on a traffic island surrounding by roads, a number of alterations to the traffic system mean that the new building now forms part of the town centre. The greatest achievement of the project is the effectiveness of the design decisions and the clear way in which they treat such a striking building.

Graduation date 27 01 2012

Commission members Chris Scheen (mentor) Peter van Dam Frits van Dongen

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Additional members for the examination Klaas Kingma Bart Bulter

Martijn de Groot

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Architecture

Existing situation

Strategy

A9 crossing

From A9 crossing

Entrance area

View into council chamber

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Martijn de Groot

Public hall

Circulation around public hall

Steps to green courtyard

Circulation around green courtyard

Council chamber

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Architecture

Geurt Holdijk Youth detention in the neighbourhood Makassarplein Amsterdam Parents essential A section of our society does not function as it should. People make mistakes, and youths also get into trouble with the law and, in extreme cases, must be confined to a judicial youth detention centre. Problems often start at a young age in the lower social classes.

Parents pay little heed to their offspring or have no control over them. When the youths return from such a centre they end up back in the very same surroundings that had not prevented them from making mistakes in the first place. That is why it is essential to involve the surroundings, and in particular the parents, during the period that youths are held in a youth detention centre.

Makassarplein is in a state of dilapidation. The surrounding buildings are poorly maintained, the square is fenced in, and there is rubbish everywhere. Two of the three outlets for soft drugs in Zeeburg are located on Makassarplein, and they even serve the wider region. Nonetheless, the Indische district is undergoing development and is a proven location for effective restructuring. The addition of an interesting new programme can give the area a boost and, at the same time, promote integration between young people and surrounding residents. ‘Juvenile delinquents suffer from many psychological and social problems. Intensive counselling in the field of social skills, work, school and leisure time is, in combination with detention, essential. Youth crime is often a temporary phase. Even so, we see a tendency whereby youths start with problematic behaviour before they are ten and do not stop after they reach eighteen. It is therefore wise to deal with these youths as early as possible. An approach confined to just one area and a lengthy stay far from home, without contact with the family or continuity with school and/or work, is not effective.’ (Quotation from Ido Weijers, professor for youth justice at the Faculty of Law, and senior university lecturer in pedagogics at the Faculty of Social Sciences at Utrecht University) Concept The institution has been designed to contain two departments: an open and a closed one.

Youths are rewarded for good behaviour by being placed in the open wing. Splitting up the programme in urban design terms into various building blocks with main functions (study, residential, sport), leads to an institution design that blends into its surroundings and that does not read as a single institute. The connection that must be created to move detainees into the closed wing is located below ground. The sports facilities along the route ensure a naturally pleasant connection. Should a youth’s behaviour worsen, he is then put temporarily in the closed wing again.

Graduation date 21 12 2011

Commission members Rob Hootsmans (mentor) Bjarne Mastenbroek Ton Schaap

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Additional members for the examination Madeleine Maaskant Klaas Kingma

Geurt Holdijk

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Architecture Youth detention centres in the Netherlands

Youth detention centres in Amsterdam

Youth detention centres in the neighbourhood

Outside towns Edge of towns / industrial areas Makassarplein in the city

3. (Parked) cars make it impossible to create a pleasant square where children can play.

A car park beneath the square accommodates cars belonging to surrounding residents and to visitors to the institution.

Concept

4. Existing urban lines connect the square with the neighbourhood.

5. The programme consists of three main elements: living, sports/ treatment, community school.

6. The residential building is placed in the quiet corner. The school and sports buildings are anchored in the neighbourhood along the busier street where the entrances are also located.

7. The connection with the busy street is protected by narrowing the buildings here in the direction of the square. However, the passageway opens on the quiet side.

Living

Sport/therapy

2. Development is placed at the south­west (sun), thus improving the relation.

‘Brede school’

1. The existing site plan: the square is too big and the ratio of building to square is 1:8.

Function

Study of facades on Makassarplein

The street facade responds to the surroundings by incorporating the materials, scale and rhythm of the nearby buildings. The plinth contains public functions.

Great variety is permissible in the composition of the facade to the square, owing to the large distance to the buildings.

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Geurt Holdijk

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Sylvia Hop The Nest

Architecture

A ‘losers paradise’ on the IJ The Nest is a multipurpose building by and for artists on the IJ waterway in Amsterdam.

Inspired by Christiania, the free state for artists in Copenhagen where free minds live and work together, this graduation project has resulted in a publicly accessible and dynamic building where artists can create their own community. The Stenen Hoofd location on the bank of the IJ is the only place in Amsterdam that does justice to The Nest. Floating above the water, The Nest and the Music Theatre and the EYE Film Museum form a creative triangle.

Although Amsterdam professes to be the creative capital of the Netherlands, artists are hidden away in vacant and dilapidated buildings with few amenities. The possibility of living in such places in often limited, and every form of interaction with the public is lacking. In addition, these places often amount to temporary solutions. Just like in the selfappointed ‘losers paradise’ of Christiania, the occupants of these locations are threatened by eviction for the sake of redevelopment.

The Nest brings together functions that can create a sustainable creative community with a clear cultural and public programme. The Nest consists of a main building with public amenities such as restaurant/café, galleries, shops, workshops, parks, open-air theatre, offices and parking facilities. In addition, plots are available for live-work units for artists. The live-work units can be designed by the artists themselves to ensure a varied and dynamic composition. Moreover, only a limited number of regulations are imposed to protect the residents and the building structure.

In this graduation project the architect acts as an ‘enabler’ rather than a designer, and a bridge is erected to connect architecture, landscape and urbanism.

The Nest will grow over time. The use of light and preferably sustainable materials means that a live-work unit is relatively easy to relocate. As such, the appearance of The Nest will change all the time.

Graduation date 02 02 2012

Commission members Laurens-Jan ten Kate (mentor) John Lonsdale Bruno Doedens

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Additional members for the examination Lada Hršak, Gianni Cito External advice Douwe de Jong

Sylvia Hop

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Architecture

Facades

Truss beams

Parking

Office

Access

Shops

Exhibition

Theatre/park

Work spaces

Cafe/restaurant

Live-work plots

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Sylvia Hop

View from Amsterdam Noord

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Jolien Huberts Acting [in] the city

Architecture

All the world’s a stage, And all the men and women merely players; They have their exits and their entrances.

William Shakespeare Vibrant urbanism is characterised by high density and a diversity of amenities, as well as by contact and interaction between people in public space and traffic flows. Amenities in the city are often positioned along the urban periphery. Office parks, shopping centres and housing estates tend to be located in easily accessible areas. This results in controlled safe havens where no cross-pollination can occur. There is no space for surprise or interaction.

Relocating amenities out of the city centre also happens in Alkmaar, where there are plans to move the cinema and the theatre out of the centre. If this goes ahead, a spontaneous visit to see a film or stage play or to head into the city after the performance will no longer be possible, even though this is precisely an added quality of a visit to the cinema, the theatre and for the city itself!

This design offers an alternative to the relocation of these important large-scale amenities in the city centre. The theatre and the cinema must stay in the centre of Alkmaar.

One reason why buildings are becoming more isolated is that society is becoming more defensive. A lot of space is being turned into private space because of the fear of vandalism and disturbances in public space. This defensive attitude leads to a division between public space and built space, and the effect of that is the lack of interaction between building occupants and their surroundings.

This design shows that built space really can blend smoothly with public space and that they can reinforce each other. The main aim of this project is to make the theatre and cinema become part of the public space in Alkmaar. In addition, the project creates as much interaction and interweaving with the programme by means of various gradations of public space. The house of culture occupies an important position within the urban fabric and becomes the podium for the city.

The strengths and weaknesses of the location in terms of urban design are taken on board in the proposal so that Alkmaar acquires a vibrant piece of public space that can be used in a variety of ways and offers space for initiatives. The people of the city find inspiration, surprise and pleasure in every space. What’s more, initiatives are rendered tangible and visible throughout the entire area.

Graduation date 05 07 2012

Commission members Marcel van der Lubbe (mentor) Rik van Dolderen Angie Abbink

52

Additional members for the examination Jan Richard Kikkert Tom Frantzen

Jolien Huberts

53

Architecture

Morning

Afternoon

Evening

Night

Collective space influences public space during the day Together they form the public space that varies throughout the day

Public outside Public inside Collective free entrance

Public space

Section Alkmaar

Collective paid (halls) Private

Gradations in public space

Plazas

Entrances

Foyer

Halls

Private

Total network

54

Building

Collective paid (routing)

Jolien Huberts

Section

Ground plan

Level 1

Level 2

Level 3

55

Level 4

Architecture

Pascal Köllmann ‘Whoever plays in the city, just make sure it’s the children’ (Aldo van Eyck) How do you make a place where children can learn, play sports, move and meet one another in an urban environment? A place where they feel safe. A place that they will later look back on as a fine place to grow up. A stack of concrete slabs, steel fences and a sack of grass seed is not the solution I think. But it is often the reality.

Principles of the design My ambition is to design a community school from outside to inside in such a way that the school is in balance with the public space. Moreover, the school playground plays a central role both in the school and in Robert Scottbuurt, an isolated neighbourhood in the Bos en Lommer district of Amsterdam. My design creates an opportunity to restore the connections with the surrounding neighbourhoods. I establish these connections by drawing the water into the neighbourhood. At various points I introduce public space into my school building by folding the façades inwards and continuing the outdoor surface inside the building. The school building flows from the public space upwards and opens towards Erasmusgracht.

Distinctive visual features I enlarge distinctive visual features. In this way, patios become outdoor spaces where children can play. Stairs become tribunes where children can meet one another. Even the wide corridors acquire a multipurpose character. These are not just neutral connections between the various classrooms. Instead, they are places containing small semi-public spaces in niches where pupils find intimacy and rest. Corridors become the domain of work and play.

Façade The plinth and the roof edge feature the same materials as the quay along Erasmusgracht.

Between the two is a timber façade of slats. The building exudes a sense of warmth and transparency in contrast to the concrete and brick of the neighbourhood. The slats vary in dimensions so that you can play with the depth of the façade. That produces a less static façade that harmonises better with the function of the building: a school and place where children play and learn. The children enter as tiny tots and, through playing and learning, develop into teenagers.

Graduation date 31 10 2011

Commission members René Bouman (mentor) Nikol Dietz John van Rooijen

56

Additional members for the examination Bart Bulter Herman Kerkdijk

Pascal Kรถllmann

57

Architecture

Movement of water and public space

In balance

School entrance

Covered playground

First-floor patio

58

Pascal Kรถllmann

Groundfloors

59

Architecture

Egle Matulaityte New Housing in Amsterdam My personal eagerness to improve the space I am living in (actually, used to live) evolved into broader historical, social and economic research about housing market in Amsterdam. Traditional street view, single living, social life and services are the keywords coming out of the research.

Combination of all of them creates new layer to the traditional closed block. Old layer – current street view – preserves characteristic image of Amsterdam. New layer – the infill – is focused to the social and safe environment for the inhabitants – singles (60% of all inhabitants in Amsterdam) and young families (25%). Those people are the most active social group needing city for the services and social connections (school, work, café, etc.). On the other hand, variety and density ensures liveliness of the city. Therefore, it is important to provide affordable dwellings to singles and families close to the city center.

Spatially, the main element of the block is a courtyard. It creates gradient spatial experience – public-collective-private while air and light gets into it through the gaps in the old structure. The program is organized around the courtyard and contains dwellings as well as services (bicycle parking, storage) and additional functions (daycare, church, café, etc.). New set up of the block has 40% more program than current one and its density becomes comparable to the vibrant district of ‘de Pijp’ in Amsterdam.

New structure contains Casco dwellings and is constructed as LEGO game – concrete boxes are constructive parts and contain service areas of each dwelling (installations, toilets, shower, kitchen) while the middle wooden part is leaning on the constructive one.

Materials continue from inside to outside extending space in optimally sized apartments.

Integrated flower pots on the edges suggest the feeling as if one would live on the ground floor…

Graduation date 29 08 2012

Commission members Chris Scheen (mentor) Donald van Dansik Jean Marc Saurer

60

Additional members for the examination Laurens Jan ten Kate Rik van Dolderen

Egle Matulaityte

61

Architecture

New

Current

Plot

Orientation to the sun

Units 70 m2

Collective Courtyards

Old facades

Units 50 m2

Units 30 m2

62

Egle Matulaityte

63

Bas Obdam A secret revealed

Architecture

Made in Amsterdam The Netherlands is a densely populated country where free space is scarce. Towns and villages expand again and again at the expense of the open landscape, while the volume of unoccupied buildings in town centres grows. The high rate of vacancy results in a lowering of quality, increasing untidiness, and a negative effect on living conditions, often culminating in wholesale clearance. With this graduation project I want to show that these industrial city-centre areas can form attractive places to live and work, and I therefore argue in favour of the redevelopment of buildings like the Van Gendt Halls in Amsterdam. With its vast industrial landscape, hidden location and the identity of the area characterised by production and innovation, the Oostenburgereiland has the potential to develop and to become a special place within the city. The Van Gendt Halls offer an opportunity in the next stage of the island’s development by triggering future transformations and acting as a focus.

For centuries the Oostenburgereiland has been a secluded area within the city, accessible only to those who worked on the island. Even in the era of the Dutch East India Company, the island was home to people who worked with the latest techniques and experimented with innovations. And in the centuries that followed, the island continued to focus on the development of new techniques. People are curious by nature and have an urge to learn. They want to be challenged, search for knowledge and develop skills. They want to understand how things are made, how they are put together, and how they work. This can happen in the Van Gendt Halls.

The programme consists of semi-public workshops and studios that are visible and open to the public. Here, people can show how products are made. The workshops adjoin two public interior streets and three squares where people can experience the monumentality of the Van Gendt Halls, climb up through a network of stairs and footbridges along the columns, and look out through the roofs. At the same time, people can enjoy a glimpse behind the scenes of companies working on new products. The distinctive roofs of the building contain dwellings, multipurpose meeting spaces and restaurants/cafĂŠs. Together these turn the Van Gendt Halls into a small city. In this design I blend the existing building, the new intervention and a new programme. Redevelopment to me is about searching for the obvious, searching for and making use of the qualities of a building and strengthening these.

Graduation date 04 07 2012

Commission members Gus Tielens (mentor) Rik van Dolderen Ludo Grooteman

64

Additional members for the examination Judith Korpershoek Arnoud Gelauff

Bas Obdam

65

Architecture

Existing ground floor

Existing second floor

66

Bas Obdam

67

Jan Pieter Penders The police station

Architecture

The needs of occupants are the key concern in this graduation project. The police station accommodates a wide range of people, all with their own particular needs. The resulting tension served as the fertile base during the design phase.

In current practice the police has taken the representation of its stations into its own hands and fitted each building with a flagstaff and signboard. At the same time, the architecture of station buildings has come under pressure and the image of the police has become the subject of political debate.

Given that representation and visibility are key issues for the police, the term ‘public building’ has been translated literally into design. This station is an open timber structure that can meet the need for privacy at any desired moment. Visibility is expressed in the design with closed volumes supported by a timber structure.

The volumes are connected to one another by a third category of architectural elements.

These connecting bridges constitute both the entrances to each volume and the stairs that link the different floors.

The building has six floors in total, precisely enough to meet requirements, since one can distinguish six main activities within police work: filing reports at reception, providing social care for victims, collective activities, conducting desk work by police officers, conducting interviews, and making arrests.

The position of the closed volumes is determined by the function of each floor. For example, the volumes of the department that houses detainees narrow to emphasise the sense of enclosure.

In the department where the police attend to victims of serious crime, the volumes are distributed across the floor to enhance the sense of openness and space.

The closed volumes are designed in such a way that they accommodate a maximum of functions. The spaces where victims are attended to consists of an enclosed corner with two benches in front so that victims have the opportunity to find a safe place for themselves.

Graduation date 12 07 2012

Commission members Chris Scheen (mentor) Don Murphy Anne Holtrop

68

Additional members for the examination Tom Frantzen Florian Schrage

Jan Pieter Penders

69

Architecture

Timber structure

Section

First-floor social spaces

Entrance and reception

Section of reception space

Second floor: canteen, briefing room

Perspective of ground floor

70

Jan Pieter Penders

Public section

Third-floor work spaces

Internal section

Private section

Fourth floor: interrogation department

Elevation of social space

Perspective of social space

Section of work space

Perspective of detainee floor

71

Fifth floor: complex for accused

Nicolien Pot Heavenly haven

Architecture

Anchoring church to society in a new way Secularisation has created opportunities for new church typologies today. Churches are starting to reflect on how they can position themselves in society.

In this graduation project I am searching for a new building for ‘the new church’. The idea for a mobile church arose from the desire to reach a wider audience at various locations.

IJburg, a new neighbourhood surrounded by water, with the potential to start something new independently of the church tradition, is a good place for a new type of church: a sailing church.

The eventual project is the product of the application of the theoretical ‘three-ring model on the current church situation on IJburg (three Christian churches wanted to work together, but not share a space) and the introduction of the sailing church.

The project consists of ‘a home base’ with, amongst others, a theatre, restaurant and café, spaces where young people and old people can gather, yoga and meditation spaces, and three courtyards in which the three different church boats can moor. In short: a social and cultural centre with space for religion and interpretation, in which society and belief are interwoven.

The plan will inspire awareness among visitors. Because the church is interwoven with society in this project, the experience will not be purely sacred, nor will it be purely profane.

Instead, it be will an experience and design all of its own, one that will contrast with the rest of IJburg so that it disengages itself from day-to-day concerns.

The project is an ensemble of sculptural objects (buildings, furniture, boats), curved walls, public space and courtyards.

The flowing, curved walls ensure that the plan cannot be grasped at a single glance. The walls define spaces and places and set up various perspectives and through views all the time, stimulating the senses, sustaining curiosity, and guiding the visitor through the plan full of awe.

The detailing of the walls will enhance this guiding and sense of wonder with their vertical articulation. Walls open at certain points to create views, establish connections and admit beautiful light.

The result is a place where you can find peace or perhaps even stimulation, where you are receptive to what the place does to you. A fine, exceptional place on IJburg. A heavenly place. A heavenly haven.

Graduation date 22 05 2012

Commission members Jan Richard Kikkert (mentor) Angie Abbink Rop van Loenhout

72

Additional members for the examination Herman Zeinstra Herman Kerkdijk

Nicolien Pot

73

Architecture Cemetrery

Middle island

Centre island

Beach island

Transformation of the theoretical 3-ring model 3-ring model

For IJburg: separate space for each church

Design assignment Separate identity + character for each church

Mix of profane and sacred: interaction and encounter

Churches can detach themselves

1 = sacred ring, church 2 = general interpretative 3 = social / cultural PK = Protestant Church RKK = Roman Catholic Church OEC = Oecumenical Community Social and cultural centre + church space

Above deck

Social and cultural centre / shared church building

Social and cultural centre / shared church building

Social and cultural centre / shared church building

Below deck

74

Social and cultural centre + floating churches

Nicolien Pot

Walls guide the route

Impression

75

Adrian Puentes RefugeART project

Architecture

Museum hotel and new creative district in Amsterdam Noord!

This proposal provides an urban framework while introducing a positive change in a context currently undergoing a severe financial crisis. The ultimate aim of this proposal is to go beyond the design of a singular architectural object and to create a project that acts as a ‘game changer’.

The design configuration is based on detecting layers: imaginary axes that are generated by the existing environment and the connection between the city of Amsterdam and the landscape of West Friesland at the nearest geographical point. To highlight this connection, a singular and symbolic element, a gate, provides a sense of cohesion and trespassing.

New oblique building strips raised above the height of the existing urban grid allow activities at ground level to continue uninterrupted and maximise views, analogous with boat decks, highlighting the integration of water and land. These typologies house two main types of space: offices and workshops for the creative industry.

The main building consists of two tall blocks, not connected to each other, that mark the main entrance to the site and frame the landscape. A large open area is defined between the buildings, where big events such as concerts, festivals, circus, flea markets and so on can take place. The museum hotel doubles as a large tribune facing the urban stage.

Tower 01 (north west) accommodates and generates movement by providing housing and cultural functions. Tower 02 (north east) accommodates the rest of the programme.

The strategic location of the project ensures optimal accessibility from across the IJ with new ferry jetties and a cable-car system, and symbolises the connection between the Dutch landscape and its culture.

The strategy includes the exhibition of The Night Watch at the museum for one year as a way of putting the project in the cultural spotlight. Artists in residence will be invited to stay at the museum tower and to take part in workshops at the building. The working areas will open to the public to enhance the interactive concept of the Refuge Art Project: ‘Art in Progress: Living Art’.

Graduation date 12 03 2012

Commission members Donald van Dansik (mentor) Klaas Kingma Jeroen van Mechelen

76

Additional members for the examination Albert Herder Holger Gladys

Adrian Puentes

77

Architecture

Creative district

Creative districts layout

Sections of museum hotel

78

Adrian Puentes

79

Ricky Rijkenberg ‘Zutritt Verboten’

Architecture

Reflectance of the past ‘They stand like concrete giants in the urban landscape of the city. They seem loners in their environment. Some have never been completed. Ugly but at the same time of an incredible beauty. The years have affected their shell, green moss grows freely. A long time ago they marked the grandeur and power of the Third Reich but at the same time they were refuge and guardian angel of thousands of people. In time these Flaktürme and their remnants became part of the city and now they are the silent witnesses of a terrible time that my generation only knows from stories and movies. Many find the towers hideous and ugly, some are fascinated by the massive concrete “rocks”. The giants still have not found a permanent place or do they ?’

The fascination for the No Man’s Land, with its delicate social issues, was the reason for me to take the largest fort system of the twentieth century as my starting point.

The different layers of this subject and the symbiosis between the indestructible thick concrete shell of the Flaktürme (hybrid bunkers) and their position in the city of Vienna made me look in a different way at how architectural, landscape and programmatic interventions can contribute to the collective memory of the city. Like a forensic scientist, I started to explore the layers of the city of Vienna from its origins by collecting conserved traces hidden deep within the ground beneath the city. This led to the conclusion that the concrete ‘giants’ were not only a huge part of the fortification history but also an important part of the underground network and the mysticism of the city.

Accordingly, I drew a new map of the imaginary and real underground city of Vienna, which the Flaktürme are part of. This treasure map is about all the mystical stories and underground places Vienna has to offer. The map will always be in progress, with new stories, discoveries of new places and vanished spaces. Instead of transforming and destroying another mystical place in the city, I add a new building called the Time Capsule. This is a tower located at a central junction of stories, imagination and hidden places. It is a new addition to the existing network of the underground city. Like a needle, it pierces deep into the underground and is only accessible through secret doors and corridors passing through time. This inverted watchtower is built of fragile concrete mixed with the earth’s layers of the past. The process of perishability is planned and stored in the production of the used concrete and is influenced by the environment and weather. Not for eternity but only for the lifetime of its existence. After the last piece of the remaining ruin has disappeared, there will be just one trace left. The trace of a story of the past embedded in the collective memory of the city.

Graduation date 06 12 2011 Honourable mention Archiprix 2013

Commission members Rob Hootsmans (mentor) Aad Krom Ronald Rietveld

80

Additional members for the examination Judith Korpershoek Bart Bulter

Ricky Rijkenberg

81

Architecture

1 ‘Neptunstellen’ Schönbrunn Castle 2 Shaft to endlessness Belvedere 3 ‘Krypto-Porticus’ Neugebäude Castle 4 ‘Tiefbunker’ Estherhazyplatz 5 ‘Bunker’ Bundesamtsgebauede Radetzkystrasse 6 Wasserspeicher Rosenhuegel 7 Former water storage on the Schmelz 8 Rain overflow structure on left Wien river-canal 9 Wienfluss vault under Lotringstrasse 10 Slaughterhouse in the Alten Allgemeinen Krankenhaus 11 Virgil chapel 12 Flakturm Stiftskazerne 13 Catacombs under St. Stefan 14 Michaelplatz excavations

M2/L2 J7/K8 O11 J5 GH/8 N1 J3 E5/E6 J7 H 45 H7 J6 H7 H6

16 Michaelplatz excavations 17 Reflektoriumsgewelf Schottenklooster 18 Hofburg wine cellar 19 Hofburg plaster depot 20 History Museum cabinet of curiosities 21 Flakturm Esherhazypark 22 Türkengräben 23 Star-shaped manhole cover Giradi park 24 Advertising column 25 Giradi park time capsule 26 Secret corridor in city centre 27 Sailergasse 1 28 Palais Collato

82

H6 GH 6 H6 H6 H6 J5 E4/E5 J6 H6 J6 H7/H6 6 H7 H7

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Ricky Rijkenberg

83

Benjamin Robichon Urban Cavern

Architecture

Public indoor climbing building for the Olympic Games of 2028 The project started by bringing together two elements that are dear to me: architecture and the sport of climbing.

Every year Dutch people travel to other countries to take part in mountain climbing.

Up to now, we have been able to practice climbing in the Netherlands, but not experience it in reality.

The project is divided into three main themes: the ‘mountain’ in Amsterdam, the urban scale, and the architectural elaboration.

‘Mountain’ in Amsterdam.

The design adds a loaded public space to Amsterdam. A hollow space in the middle of a building that recalls the Grande Arche in Paris. A monumental gesture. Urban Cavern presents Amsterdam with an icon of European or perhaps even world stature. While icons rarely possess any other function, this icon is a complete city.

Urban scale Can a city like Amsterdam, where much of the development has an average height of five building floors, deal with such a jump in scale?

History proves that cities need a boost in scale from time to time. Such an increase in scale is already taking place in Amsterdam at the moment. This building blends in with a ring of buildings that is emerging around the centre of Amsterdam — along the A10 motorway, in the Zuidas business district and in the Omval area — and forms an important hinge on the north bank of the IJ waterway.

Architectural elaboration.

Urban Cavern contains both climbing facilities and housing as well as temporary accommodation. There are cabins for climbers, homes for students and first-time home owners, and even a camp site. But of course the heart is a mountain in reverse: a three­ dimensional square that constitutes the architectural highlight.

A public building that creates the experience of nature at a high urban standard and aspires to be the most attractive artificial climbing facility in the world. It’s a structure that will provide the best climbing experience during the Olympic Games of 2028.

Graduation date 03 05 2012

Commission members Laurens Jan ten Kate (mentor) Bruno Doedens Pim Kother Arjen Oosterman

84

Additional members for the examination Judith Korpershoek Marc A Campo

Benjamin Robichon

85

Architecture

86

Benjamin Robichon

87

Architecture

Jelle Sapulete Living that caters to Korsakov patients At present there are some 10,000 Korsakov patients in the Netherlands, and 400 of them live in Amsterdam. Korsakov is a brain disorder caused by long-term alcohol abuse. The abuse affects not only the patient’s brain but also his social network.

Through research, workshops and interviews with Korsakov patients and professional social workers, I learned more about the disorder and discovered a treatment method that calls for another typology in architecture. About half of the patients live at home and receive voluntary care provided by family members, friends and neighbours. The relation between voluntary workers and patients is key in this design, but it does require professional support.

The doubling of the number of Korsakov patients in Amsterdam by 2020 offers an opportunity to develop a new building typology containing accommodation and care facilities for patients and voluntary workers. The central location of the proposed building (on Bilderdijkkade, next to the former Hallen tram depot), means that patients can rehabilitate faster in their own familiar surroundings, thereby reducing the burden on voluntary workers.

The typology is based on the centuries-old courtyard principle where the outer ring protects the inner ring, forming a closed perimeter block facing the surroundings. The shallow depth of the building means that the inner ring is interwoven with the outer ring so that a spacious green inner courtyard results. The urban siting of the building creates a clear relation with the old tram shed, which is earmarked for redevelopment in the near future. The new programme for this shed harmonises with the programme for the residential-care building.

The occupants and functions of the building enhance the quality of life in the interior and make everything so manageable. Combining various types of access caters to the needs of occupants and forms a spatial translation of a programmatically defined problem.

Environmentally based design and public functions such as a naturally filtered indoor swimming pool contribute to a more rapid recovery among patients and more interaction within this protected world. The building thus becomes more than simply a residential complex and more than a care institution.

Graduation date 19 03 2012

Commission members Chris Scheen (mentor) Floris Hund Herman Kossmann

88

Additional members for the examination Herman Kerkdijk Judith Korpershoek

Jelle Sapulete

89

Architecture

90

Jelle Sapulete +5,5 shared garden

Continuous stairs Volunteer aid workers

+4,5 doorways with volunteer aid workers

+3,5 galleries with patients Some stairs Patients +2,5 doorways with volunteer aid workers

Combined ‘wokkeltrappen’

+1,5 galleries with patients

+0,5 doorways with volunteer aid workers Galleries combined with ‘wokkeltrappen’ -0,5 courtyards with patients

Galleries and lifts combined with ‘wokkeltrappen’

-1,5 shared basement

91

Victor Spijkers The public tribunal

Architecture

The public tribunal is located right in the public centre of The Hague, wedged and anchored between flowerbeds and trees, museums and offices. An endless stack of small cylindershaped windows offers glimpses into the world of international criminal jurisdiction without revealing everything.

The overwhelming, extensive building is not a standard office complex such as those in which the international tribunals have been housed up to now. At every point where the building appears between the greenery and the other buildings, it reads as something slightly different. It pops up again and again: as the entrance to the museum courtyard, as the wall of a square, or as a bridge over the pedestrian route.

Inside is where the accused ‘live’. This is the place where they stand trial with the judges and the prosecutor for offences that are so serious that the international community has to intervene. Witnesses tell the story of the strife-torn world that lies outside the building.

The pedestrian route between the old centre, the Peace Palace and the most important museums of the city runs beneath the building. Located here is the public entrance, which is also the entrance for the judges and prosecutors. Visitors enter here throughout the day while lawyers come and go to their offices in the neighbourhood.

Inside, a continuous route takes the public through the building, past all elements of the tribunal: the offices of the prosecutor, the meeting rooms of the judges, the rooms for the accused, the library, the restaurant, the press room, and ultimately the courtroom.

Corridors lined with felt instead of doors lead the public and the protagonists from the atrium to the different spaces.

The protagonists in the case come together in the courtroom under the watchful eye of the public. The prosecutor and the accused sit opposite each other under the clouds passing overhead, visible through the rooflight, while the judge observes the case from a raised annex contained within the building.

The clarity of the building as an expression of discipline and jurisprudence, the proximity of the protagonists, the accessibility for visitors and the connection with public life make this building a public tribunal.

Graduation date 04 07 2012

Commission members Bas Liesker (mentor) Lada HrĹĄak Chris Scheen

92

Additional members for the examination Holger Gladys Florian Schrage

Victor Spijkers

93

Architecture

94

Victor Spijkers

95

Architecture

Tara Steenvoorden Nationale balletschool

Pas de deux of redevelopment and new construction In the seventeenth century an orphanage arose on the newly constructed Prinsengracht: two courtyards, one for boys and one for girls, a long bench against the front façade, the lively scene of nurses accompanied by a flock of children.

After the last orphans had been dispatched to colonies in the east of the Netherlands in 1825, the building acquired a new function and, literally, a new face. The new neoclassical front façade gave this old orphanage the appearance of a stately palace of justice, which would be its function until 2012. In this proposal the historically loaded building is transformed into a place for talented young dancers: the National Ballet School.

An almost archaeological study of the many transformations that the building has undergone down through the centuries exposes the ancient structure of the old building; a grid with regular dimensions that generates a severe rhythm of fenestration and classical proportions in plan and elevation. Careful analysis of the spatial possibilities that this structure and the perforated walls offer, in combination with the critically subjective removal of elements that hinder the union of building and programme, create space for the ballet school and living accommodation for the children on the attic level.

The primary functions of the institution are distributed across three bays: the school with classrooms, the theatre with foyer, and the dance studios. The remaining classical interior elements such as the old library, an ornamental columnar arcade, and a theatrical flight of stairs acquire a new coherence and retain their original functions.

The two courtyards differ in character. One courtyard is accessible from the city through covered passages that take their names taken from the old construction drawings: bakers passage and dressmakers passage. The second courtyard is covered and serves as a central space in the school, a place of encounter before and after classes and the venue for festivities.

A pas de deux between the solidity and weight of this old building and the fleetingness of the dance resulted in a transparent brick skin. Et l’ histoire se répète. In the seventeenth century a house for orphans, in the twenty-first century, with the arrival of student dancers, a home base for young people in Amsterdam once again. And when, in the evening, the courtyards light up and dancers in tutu gather nervously in the corridors before they take the stage, the ballet school becomes a beacon in the city, a vibrant tableau that causes you to pause for a moment in wonderment.

Graduation date 29 08 2012 Cum laude First prize Archiprix 2013

Commission members Jan-Richard Kikkert (mentor) Trude Hooykaas Gianni Cito

96

Additional members for the examination Johan de Haan Klaas Kingma

Tara Steenvoorden

Design in its context on Prinsengracht

Existing condition = new extension

Existing condition + demolition

Existing site plan in various construction periods

97

Architecture

Repair of the main structure: brickwork membrane around two courtyards

The 1890 library becomes part of the school wing

The central space between the courtyards with columns and coffered ceiling is the foyer of the school

The classical flight of stairs from 1894 offers a natural route for the public to the theatre on the first floor

After demolition, the south-east wing is divided. Three narrow alleys separate the dance studios, the street and the existing front volume from one another

Beneath the raised attic roof is residential space for 100 students

98

Tara Steenvoorden

99

Architecture

Janita Stoel B cloud: a library for Zwolle B cloud, a library for Zwolle, is set in an urban context and generates a continuous functional relation between inside and outside. In the building you experience the connection with the surrounding area, and when you stand outside the building you are invited to enter.

The programme inside is a contemporary library with a wide cultural assortment that you can use as you wish, wherever you wish, how you wish, and with whom you wish.

This library offers you space.

The raised library In a digital world, libraries need another architecture and another programme. The array of digital media means that a library requires less physical space. And to reverse the decline in visitor numbers, a library must offer a wider and attractive (cultural) programme. This creates space to design a library as a cultural cluster, a new public space for the city.

In the city The core library calls for an accessible location. The site at Broerenkerkplein is an intermediary between the shopping area and the cultural programmes in the area, such as the Broeren Church and the school of music. Moreover, the surviving 1960s architecture is a reason to create a continuous relation between inside and outside in the building.

The programmatic organisation makes the building accessible for passers-by and, at the same time, suitable for concentrated use. The central hall is the vital showcase of the function, and mutually connecting the added cultural programme brings light, air and space into the building.

Dual The limits of the building shift owing to the accessibility of the ground floor. From the central hall visitors can choose from two routes that start in the closed blocks. After that, the building reverses and you enter closed spaces on the upper floors.

The closed floors ‘meander’ upwards around the two cores, which open to the surrounding departments for indirect daylight, and the façades fold inwards to create ‘daylight spots’.

The contrast in the character of materials — smooth, light and shiny for the outer skin; and rough, heavy and matt for both cores — emphasises that order.

Graduation date 20 09 2012

Commission members Laurens Jan ten Kate (mentor) Judith Korpershoek Serge Schoemaker

100

Additional members for the examination Rik van Dolderen Mariëtte Adriaanssen

Janita Stoel

101

Architecture At the city wall

Meerminneplein

detail (façade) fragment shopping centre

site plan and ground floor

1: entrance to central hall 2: access 3: offices and depot 4: café and lounge

2nd floor

1: auditorium 2: adults 3: day light spot 4: ramp 5: art book tower

section

1nd floor

1: auditorium 2: youths 0 – 9 3: media studio 4: course space / daylight spot 5: art book tower 6: youths 10 - 17

section

auditorium and daylight spot

indirect light

102

1: lounge 2: youths 10 - 17 3: daylight spot 4: art book tower 5: adults

Janita Stoel

central hall with exhibition

central hall with performance

103

Architecture

Alexandra Vocht Caracas: an urban path

This graduation project is a design based on two contrasting scales for the area called ‘23 de Enero’ in Caracas, Venezuela. Modernist superblocs for 50,000 people were built in this area in the 1970s. Political issues and a shortage of housing resulted in the construction of barrios, or informal neighbourhoods, between the blocks. Currently the area is home to 200,000 people. The urban and landscape structure, and as a consequence the social structure of 23 de Enero too, is determined by fragmentation and segregation. The causes of this can be traced back to, amongst other things, the infrastructure, the topography and the segregation of the formal and the informal city.

The design of an ‘urban path’ with a crystalline structure, which cuts right through 23 de Enero, connects the scattered areas with one another and reverses the fragmented character of the development through three interventions. First, the ‘urban path’ provides access to various areas by means of stairs, lifts and escalators, and provides the public space with new elements. Second, the ‘urban path’ stimulates activities initiated by residents in various places. Third, four buildings along the path serve as transformers that change the entire area. These house a sports school, a lookout tower combined with a bar, a recycling factory and a cultural centre.

The cultural centre is the ‘fall case study’ of the design, a first incentive to enhance the quality of life in the surroundings and a strategic junction between the barrios and the superblocs. The compressed urban life takes place between ground level and the superstructure of a floating construction. The building functions in a way that is, on the one hand, open, transparent and flexible owing to its changing and unexpected use by different population groups. On the other hand, the building offers a conditioned and protected environment for, among others, women and children, in response to the unsafe atmosphere that dominates public space in Caracas.

Graduation date 15 03 2012

Commission members Rik van Dolderen (mentor) Chris Scheen Roberto Rocco

104

Additional members for the examination Holger Gladys Ira Koers

Alexandra Vocht

105

Architecture

Existing situation

Path opens up the different districts

Path from Plaza Perez Bonalde, Catia / Libertado via 23 de Enero in direction to the east, Plaza Bolivar (Historical Center)

Floor plan -6

Floor plan -4

106

Alexandra Vocht

Transforming a grid (formal architecture) into an informal landscape type of architecture

Above vizualisation path at day below path at night

Visualization Cultural Center

Relation Women Center / superblocs and path / columns / parking space

Section

Vizualisation from the old town

107

Urbanis

108

sm

109 111

Economies of Scale Rogier van den Berg Head of Urbanism Department

110

Economies of Scale

The projects by Marijn van der Linden and Miriam Verrijdt are two big renewal operations conducted along the coast of Holland that reveal a decisive break with past trends. Van der Linden’s project, entitled Verkassen, shows why it is necessary to increase the scale of the landscape of horticultural glasshouses that has evolved organically into a knowledge-intensive industry. But no matter how innovative market gardeners are, without a spatial strategy to increase scale in the region, they will no longer be able to compete with new glasshouse regions in China, the Middle East and Africa.

In her project, Verrijdt demonstrates how to shape the transformation of a seaside resort into a destination with international appeal. The resorts along the coast of Holland have also evolved organically, though they sometimes seem to deny the existence of the most beautiful landscape of all in the Netherlands: the North Sea. Both projects show how highly urban functions and industries in the ‘Metropolis Holland’ are woven into the landscape. Without adequate research and design ability, these ‘metropolitan’ landscapes will appeal less and less to residents, visitors and entrepreneurs. Important and high-potential economic forces such as the greenhouse sector and the coast of Holland could easily become marginalised in an international context.

Both projects are also examples of design research that encompasses much more than just spatial change. They illustrate possible ways of dealing with capital that is contained within the space of the city and landscape. In times of continued economic stagnation, a reduction in scale and a decrease in opportunities to conduct design research lead to a situation in which all projects must be feasible without assistance. As a result, the capital contained within the ‘hidden assets’ of the metropolis is either overlooked or its potential is insufficiently investigated.

If, politically speaking, everything now boils down to providing economic incentives, then spatial planning in the metropolis must not be underestimated as a vital factor in the success of a national economy. The systems within the metropolis must be capable of renewing themselves, or else they will decline in power and lose their appeal. Such renewal calls for research and design ability. The Atelier Kustkwaliteit (Coastal Quality Studio) is part of a governmentinitiated programme devoted to the protection of the coast and, thus, to the safety of the Netherlands. This studio is exploring ways to combine protection of the coast with spatial planning. Water safety can always be certain of enjoying 111

Economies of Scale

political support in the Lowlands, and the same can now be said of the economy.

However, we should not let spatial planning fall victim to pragmatic economic measures. Instead, we must make it a core element of economic reform. After all, the metropolis is where the money is earned, so it must be well-structured.

And that is why design research is essential. Without continuous renewal, ‘our’ market gardeners will soon end up in China and ‘our’ seaside resorts will turn into faded glories of a tourist industry.

112

113

Urbanism

Marijn van der Linden Relocate

Towards a lasting and dynamic greenhouse farming complex in Westland The Westland area is choking itself. Unbridled growth means that the greenhouse horticulture complex is set to collapse under the weight of its own success. What’s more, the supply of fresh water is no longer guaranteed. The lack of fresh water and the advancing salt water could signal the end of horticulture in this region.

By organising the businesses according to size within a sustainably designed water management system, one can create a new Westland with an interesting range of landscapes, atmospheres and a mix of functions and uses.

In my graduation project I link the three isolated villages of Monster, Naaldwijk and ’s Gravezande by means of a new route through the Hortus, a melting pot of small-scale horticultural glasshouses and agricultural/recreational functions. This results in a new route between Midden Delftland and the North Sea. In the heart of this zone lies the new recreational harbour, the central point of the navigation route between The Hague and Delft. The fine-meshed network of watercourses that form the drainage pool system serves as a source of fresh water and thus forms the lifeline for the companies. The network is also the new infrastructure for the recreational boating routes. To guarantee the safety of the supply of fresh water supply, both at high water and low water, the Hortus is linked to the water management system. This deep-lying polder is undeveloped and therefore forms an exciting exception to the densely developed Westland. People from Westland can enjoy a stroll here, and in periods of drought young cattle can graze here.

At high water, the water management system can become a calamity polder. During extreme drought the water stored in the Buffer Forest is released. This is a newly added ‘water forest’ where silence and contemplation are plentiful in the midst of the dynamic Westland.

On both sides of the Gantel, an old tidal creek, lie areas of reclaimed land that serve as conditioned water basins. This is where large horticulture firms of up to 75 hectares can be located. The edges of the basins are attractive landscapes and functional in terms of water management. In addition, they make a dynamic transition between the huge scale of the greenhouse horticulture businesses and the neighbouring villages by allowing local people from Westland to benefit through their allotment gardens. Along the Gantel lies a new research station and visitor centre, the showpiece of the Westland area. As the evening draws to a close, this river transforms into a spectacular lightshow between the glasshouses and the natural banks.

Graduation date 10 07 2012

Commission members Ton Schaap (mentor) Kamiel Klaasse Boris Hocks

114

Additional members for the examination John Westrik Arjan Klok

Marijn van der Linden

115

Urbanism

Purification dam

Transition dam

Edges of horticulture areas

Buffer dam

116

Marijn van der Linden

XL M, S, XS XL Scale concept

Water system concept

117

Urbanism

Miriam Verrijdt A breakthrough for the Dutch coastal resort A fascination for the quality of the Dutch coastal landscape in combination with the often outmoded appearance of Dutch coastal resorts resulted in this proposal for a new concept for the Dutch coastal resort as the starting point for a design.

We can discern nine morphological types of coastal resort whose forms are encapsulated in various historical layers. One of those types, the Boulevard Type, dramatises the special character of the resort: the combination of a dynamic coastal landscape with the solid, heavy structures of the settlement. At the same time, there are two major disadvantages to the Boulevard Type. First, the boulevard cannot adapt easily to rising sea levels and the accompanying changes to the coastline. Second, the boulevard does not function well with mass tourism. For the boulevard resort offers just one front row, resulting in too much pressure on too little space.

That’s why the new concept proposes reorienting the hard structure perpendicular to the seafront boulevard. Longitudinal embankments therefore, but then extending out from the resort. This arrangement turns out to have the very same advantage as the boulevard. Direct contact between town and landscape remains unaffected. At the same time, this type avoids the disadvantages. Adapting to a changing landscape can occur effortlessly, and because the line of contact between sea and resort lengthens, the front row lengthens accordingly. What’s more, the embankments have an interesting effect on the coastline. In part, the coastline becomes more stable, while to the north it becomes more dynamic.

The concept has been tested at Scheveningen, where it turns out that there are more consequences for the resort. The landscape all around becomes a good deal more exciting. And the arrival for resort visitors improves radically: they can walk straight from the car park to the beach if they wish. Scheveningen acquires a more open front to the sea, allowing the quality of the water to penetrate further and beach life to become far more varied owing to the different conditions. In addition, Scheveningen acquires 50% more coastline, a large amount of which is south-facing. Sand reinstatement is no longer necessary. The new type proves to be an interesting addition to the Dutch coast, offering a host of possibilities.

Graduation date 21 11 2011

Commission members Florian Boer (mentor) Els Bet Huub Juurlink

118

Additional members for the examination Henk Bouwman Ellen Marcusse

Miriam Verrijdt

119

Urbanism

Sketch outline of boulevard resort

New concept for perpendicular resort

Master plan

New view of Scheveningen from sea

120

Miriam Verrijdt

Section D bridge element in deep sea

Section C between beach and sea

Section A dam on the beach

Plan Noorddam in the future

Section B between beach and breakers

121

Landsc Archite 122

cape ecture 123 125

Rethinking Marieke Timmermans Head of Landscape Architecture Department

Rethinking

At the Academy we teach students to understand landscape as a result of the interaction between human activity and territory over time. We teach them to understand the way in which ordinary people add meaning to landscape, just by constructing their living environments, day by day, year by year. We urge students to go out into the countryside, talk to the local people and listen to their stories, even participate in real events if they can, to experience and understand the ‘living landscape’ of their projects.

This year’s landscape graduates all did this intensive fieldwork. They discovered that the landscape does not live up to the expectations of current life any more and that they had to develop initiatives to create a more contemporary countryside.

Rethinking the functionality of the countryside, students also wanted to improve the long-term sustainability of land use. Some students even proposed to ‘unplug’ some of our over-cultivated and difficult-to­manage landscapes. They wanted agriculture to adapt more to the natural resources, the ecological cycle and the specific possibilities of the land.

They investigated how reintroducing dynamic processes can contribute to meaning and experience in the landscape; how new production strategies can reframe the position of farmers in society; how we can protect the land against rising sea levels by letting the water flow in. They even asked themselves if landscape could move in a better direction from the point where we say ‘let it all go’.

Within the professional discussion at the Academy, we asked ourselves whether this year’s graduation plans were too much about process and strategy and not enough about design. After all, the Academy is an art school.

Adapting to the new economic timeframe, landscape students preferred a more bottom-up approach towards landscape this year. In contrast to the Dutch heroic design attitude, students wanted to influence the interaction between human activity and territory through processes and strategies rather than through forms and shapes. Students were working towards a more natural approach to landscape and therefore chose a more modest position as designers. But they still take an ambitious route towards change.

In that sense some plans are quite heroic.

In September 2012 the Landscape Architecture department of the Academy received an ‘honorable mention’ at the International Exhibition of Architecture and Landscape Architecture Schools of the 7th European Biennial of Landscape in Barcelona. More than 500 projects were submitted from 26 countries by 74 schools all over the world, among them some of the 125

Rethinking

best, like RMIT, Harvard, AA and ETH. According to the international jury it is ‘the clarity and commitment of the proposals towards territorial systems and the creativity in the proposals of interaction between human activity and territory’ that makes the Academy student work stand out. The graduation plans of Jorryt Braaksma, Anne Fleur Aronstein, Michiel van Driessche and David Kloet were part of the submission to the Biennial in Barcelona.

126

Landscape Architecture

Anne-Fleur Aronstein Reclaimed dynamics

The completion of the Delta Works marked the disappearance of dynamic processes in the flow of waters around the island of Goeree Overflakkee disappeared. All waterways were integrated into one system. The negative effects of cutting off these waterways are now painfully visible: water quality has declined significantly, banks crumble away, and migratory fish such as sturgeon and salmon cannot swim up the River Rhine through the Haringvliet Dam. Closure has also had a negative effect internationally. Apart from fish migration, the area is also an important place along the international migratory route of shorebirds. Species common to the estuary have disappeared, and that has been at the expense of the resting and feeding area for migrating and overwintering birds. The spatial quality of Goeree Overflakkee has also declined significantly. Some 70% of the landscape is devoted to agriculture, there is little nature, and the public space outside village centres largely consists of infrastructure. The waterways around Goeree have become a passive, empty space, while they were once so exciting and varied. The dynamism that one expects in a delta is nowhere to be found. The artificial landscape has come to dominate Goeree Overflakkee, even though it owes its existence to the dynamism of the sea.

The rising sea level, salinisation and peak discharge of the river water urgently call for a new attitude towards managing our rivers. The climate scenarios presented by the Delta Commission, the urgent character of the water problem, and especially the desire for wilderness as a foil to this artificial landscape, form the basis for a study in three scenarios.

Restored DNA, Green Dykescapes and Oysters for Onions offer insight into the potential of the reintroduction of dynamic processes for the transformation of the landscape in terms of nature development, agriculture and life in the delta. The scenarios are based on three different time horizons with accompanying rises in sea level. In each scenario the landscape transforms, and with it the significance and experience of Goeree Overflakkee for people and animals. The extent to which dynamic processes acquire a role, alongside the management of flood barriers, determines how durable and climate-resistant the scenarios ultimately are. That enables the scenarios to further the discussion about the future management of the Dutch delta.

Graduation date 21 06 2012

Commission members Jana Crepon (mentor) Lodewijk van Nieuwenhuijze Dingeman Deijs

128

Additional members for the examination Bram Breedveld Robbert de Koning

Anne-Fleur Aronstein Scenario 01 Restored DNA

Scenario 02 Green Dykescape

Scenario 03 Oysters for Onions

129

Landscape Architecture

130

Anne-Fleur Aronstein Stad aan ‘t Haringvliet

Polder de Oude Stad

Sommelsdijk

131

Landscape Architecture

132

Anne-Fleur Aronstein

133

Jorryt Braaksma Rising Land

Landscape Architecture

The Wadden Sea coast has had a long history of land reclamation. For over a thousand years high tidal marshes have been diked in for agricultural use. Through soil compaction and rising sea levels, these polders now lie below sea level, with the oldest polder lying over two metres below sea level. District water boards are finding it increasingly difficult to keep these areas dry and the water fresh. The low-lying level of the land presents other disadvantages. A breach in the dike has greater consequences for a low-lying polder than for polders elevated above sea level. During the 1953 flood disaster there were big differences in fatality numbers between low-lying and more elevated polders.

Rising Land is a strategy that seeks to find sustainable solutions to counter salinisation and improve coastal safety. It is a strategy to allow low-lying polders to silt up in a natural manner, under the influence of tidal dynamics, to above the average high-water level.

Various spectacular landscapes will succeed one another in a relatively short space of time during this process (75-100 years). Every 25 years the process is put into operation at another low-lying location along the coast. As a result, all phases of the Wadden Sea can be experienced, from mud flats to gullies to elevated tidal marches, within the space of a single lifetime.

The oldest and lowest polder, the Dollard polder, has been elaborated as a test case.

Excess sediment in the water of the Eems-Dollard estuary causes ecological problems.

This sediment is used to raise the level of the polder, which can reduce the amount of dredging work needed in the estuary. The clarity and the biological production increase as a result and form the basis for this ecosystem.

Choosing the exact route and design of the new ring dikes and edges anchors the intervention firmly to its spatial, functional and cultural-historical context. Regulation of the tides with a flood barrier will increase the rate of silting and the dikes can be kept lower as a result. Coastal cliffs are created in a natural manner elsewhere. These remain behind as relicts in the landscape after the area has silted up again. They are a poetic reference to the past and the future of these polders.

Graduation date 06 06 2012

Commission members Lodewijk van Nieuwenhuijze (mentor) Paul Achterberg Sander Lap

134

Additional members for the examination Cees van der Veeken Rik de Visser

Jorryt Braaksma Intertidal area after 5 years: ground at -1.5 m AOD

Pioneer phase after 25 years: ground at +1.3 m AOD

Low tidal marsh after 50 years: ground at +1.7 m AOD

High tidal marsh after 50-100 years: ground at +1.9 m AOD

135

Landscape Architecture Tidal influence <1000

Concept

Now

Tidal influence 2012

Polders below sea level as a result of ground settling and rising sea level 2012

Low areas silt up through natural silting process

profi le A - Aâ&#x20AC;&#x2122; Current

new

136

Close and redevelop or allow to grow naturally

Jorryt Braaksma

existing primary dam, crest height 8 m above AOD

waterway 0.2 m AOD (max. navigable depth 2.0 m)

dike coupure (red Dollard clay brick

new primary dam, crest height 8.2 m above AOD new primary dam, crest height 8.2 m above AOD flood barrier flood barrier asphalt covering outer slope

ditch for seepage water + main polder waterway with reed bank

transfer dike (exposed aggregate concrete)

pumping station

parking spaces

non-overtoppable grass ring-dike, crest height 2.6 m asphalt covering outer slope above AOD non-overtoppable grass ring-dike, crest height 2.6 m

network of channels

new concrete bridge

inter-tidal zone (mud flats) pioneer zone (around average high water, salt-tolerant plants)

landmark recognition point on horizon

low tidal marsh (to 40 cm above average high water)

existing forest

high tidal marsh (to 80 cm above average high water)

new forest

edge compartment

drumlin (Winschoten peninsula)

screen of stakes along tidal road (old roads)

public park zone

grass ring-dike, crest height 3 m above AOD above AOD

grassdike outer ring-dike, flanking crest outlet height with 3m cycle above lane AOD on crest, crest outer dike height 1.75flanking m AOD outlet with cycle lane on crest, crest height 1.75 m AOD inner dike flanking outlet with landing stage, crest height inner dike flanking outlet with landing stage, crest height 0.6 0.6 m m above above AOD AOD quay of Blauwstad/Reiderwolde compartment, crest height 1 1m m above above AOD AOD height remains of former dike or new dike around remains remains of former dike or new dike around remains natural cliff

137

new avenue planting (Tilia cordata, wind resistant)

Landscape Architecture Regional strategy map 2012-2112

5. 100 years after start, new use

4. 75 years after start, high tidal marsh

3. 50 years after start, low tidal marsh

2. 25 years after start, pioneering vegetation

138

Jorryt Braaksma

139

Landscape Architecture

Michiel van Driessche Eat your view

Towards a sustainable food industry How can the dynamism of the countryside be deployed to solve the global problems that face us? And how can these problems turn the countryside into a functioning system again?

The Peat Colonies are rural areas in the north of the Netherlands, which are having to contend with a number of important economic, social and ecological issues. As agricultural areas, they are part of a global system. The source of the problems therefore does not lie in the areas themselves, but in the global food system and the impact that this system has on an area and on the social, economic and ecological environment that it creates.

That is why the United Nations advocates a new, sustainable agricultural system. The Netherlands, however, plays no significant role in the proposed transition. The current system is an ‘open system in an open economy’. It is composed of single-function production areas, into which raw produce is brought and from which semi-finished products are taken away. The agricultural model that the UN is advocating means a transformation to a ‘closed system in an open economy’. Closed circuits are formed within regions, and these circuits then connect with a global network. The Peat Colonies can develop this new agricultural model as a test case, enabling them not only to tackle their own problems but also to address global issues.

The new agricultural model is composed of three structures that seek to achieve three core ambitions: self-sufficient production, local and regional processing, and a dynamic network.

The new production system is an intelligent seven-part system in which crops and cattle are combined and temporary nature preserves are integrated. The processing is divided into a collaborating network of local, regional and national hubs. In each case a choice is made between transport costs and scale advantage. This leads to development opportunities at the various levels of scale, and a renewed social significance for the food industry. The infrastructure network is adapted to facilitate these new development opportunities, and to make the production area accessible once again for both the consumer and producer.

The result is a restructured agricultural model that explores the possibilities for sustainable food production at a global scale. At a local scale, the transition creates an agricultural area of convincing quality in terms of environment, which enhances the identity of the Peat Colony region.

Graduation date 07 05 2012

Commission members Eric Frijters (mentor) Cees van der Veeken Wim Boetze

140

Additional members for the examination Maike van Stiphout Mirjam Koevoet

Michiel van Driessche

141

Landscape Architecture

Existing agriculture model: ‘open system in an open economy’

Sustainable agriculture model: ‘closed system in an open economy’

Regional strategy: peat districts

Local framework: Nieuw Buinen

142

Michiel van Driessche

Processing chain: a network of local and regional processing hubs

Production system: a seven-part system of crops and cattle breeding in combination with temporary nature zones.

Infrastructural framework: accessible production zone and concentration of dynamism for economic development

143

Landscape Architecture

Rianne Glas-Sjoerdsma Langeveld coastal estate

Introduction The coastal landscape offers great potential for a unique dune landscape. Langeveld Coastal Estate is an ambitious and taboo-breaking plan for the coming 15 years.

It exploits the landscape qualities and the interweaving of visitors, entrepreneurs, holiday-makers and nature itself to create a fascinating new type of rural estate. It creates new opportunities for existing elements such as beach tents and dunes, and for special forms of architecture, farming, recreation, ecology and economy.

Developments The changes taking place in the coastal region are highly significant. Among them are the increasing urbanisation, the high and rising demand for coastal recreation, the huge appeal among entrepreneurs, and the rising sea levels. These changes create the conditions for an overall intervention.

Strategy When the government becomes much less actively involved, particularly in the area of nature management, opportunities will present themselves for other parties. That will signal the introduction of new alliances of all sorts, which can take over the design and experience of the dune area. All of this will lead to a new type of rural estate, the coastal estate.

The coastal estate Langeveld A specific study area had been chosen to make the country estate visible and to make statements about this area and its needs. The innovative approach is launched at local level and its effect is rendered visible.

The area of study is Langeveld coastal estate between Zandvoort and Noordwijk. This constitutes a new area of sanitas in the Dune and Bulb-Growing Region. A total ensemble of different initiatives puts production, consumption and self-sufficiency first. A remarkable aspect is the reintroduction of agriculture within the study area. Beach erosion supports these initiatives and the main connection between the surrounding countryside and the sea.

The concept for the study area certainly has the potential to be applied along the remainder of the Dutch coastline. The coastal estate signals the start of new developments.

Graduation date 23 03 2012

Commission members Ivonne de Nood (mentor) Joost van Hezewijk Jan de Graaf

144

Additional members for the examination Sylvia Karres Hank van Tilborg

Rianne Glas-Sjoerdsma

145

Landscape Architecture

nd

Egmo

cum

Castri

Nature area costs money

Pioneering spirit in search of space

Increase in leisure time

en

Ijmuid

M

ERDA

AMST

Coastal estate New collaboration on a new type of estate

LEM

HAAR

voort

Zand

New concept Coastal estate

wijk

Noord

Part of a larger system and the gradient

The pioniers, country estate is landscape

Conection between sea and hinterland

Experience

Katwijk N

LEIDE

N

ingen

+10.0

ven

Sche

+7.0 +2.0/1.92

+2.5

DEN

HAAG

The bulbs farmer | tulips and hyacints

Haha as the border of the productfield

218.0 eijde Ter Hduingewas . tulpen - hyacinten

Hoek

4.0

55.0

3,5

12.0

8.0

sloot

duin

fietspad

duin

strandafslag auto

olland

van H

l| kustgoed west- oost

00

lengteprofiel 03. aspergeboer

kust.huis

gw +1.02/1.11

strandafslag 0

10 20 30

40 50

60

80

100

m

maaiveld

Beach side-way, from the beach to the hinterland

146

lengteprofiel 04. bollenboer 05 aardappelboer

Newview of bulbs farmer in the open dunea

Rianne Glas-Sjoerdsma

Masterplan

lengteprofiel 07 wijn.boer

gw +2.86/2.82

lengteprofiel 06 zeekool.boer

Newview of wine farmer in the forest area

147

Landscape Architecture

David Kloet New Arcadia Amsterdam East Towards a new metropolitan park landscape The inspiration for the project came from the change of direction in central government policy on spatial planning, which sees the government moving away from the idea of national buffer zones. These have been an important element of landscape policy over the past 50 years and are reflected in the Ecological Main Structure (EHS): green zones around cities and national landscapes. From now on, the most important responsibilities lie at municipal and provincial level. The real value and significance of the landscape of the ëmetropolisí threatens to recede further than ever from view, even though the Dutch cultural landscape comprises a unique variety of landscapes, villages and towns.

The metropolis of Amsterdam is surrounded by policy landscapes, and if you look at the map the canal district in the city centre looks just a short distance away from the landscape. That is a great quality of the lob-shaped structure of Amsterdam. Yet the pressure from the surrounding countryside is increasing and a logical connection between city and surroundings is lacking. Moreover, various and often contradictory values must be resolved within the same space: raising water levels and increasing salinity levels, expanding towns and villages, intensifying infrastructure and recreation, and creating new ecological areas. These combined challenges, together with great dynamics, are characteristic of the landscape to the east of Amsterdam, also known as Diemerscheg.

The landscape of Diemerscheg is characterised by peat streams and peat meadows, but it is also carved up by heavy infrastructure. Wedged between the ëknowledge cityí of Amsterdam and the suburb of Almere, the landscape has to deal with a growing volume of traffic every day that tries to manoeuvre through it. The result is the fragmentation of the landscape into residual spaces in which city dwellers seek opportunities for recreation and a valuable assortment of flora and fauna search for habitats.

This project seeks ways of connecting this fragmented space and the open landscape.

The proximity and connection of the centre with the open peat meadow landscapes offer potential that the metropolitan region can exploit much better. In this design, ëloopsí connect Amsterdam with the IJmeer, and the Green Heart with the Blue Heart. Spectacular bridges (park connectors) eliminate the barriers created by lines of infrastructure, and new park entrances welcome city dwellers to the landscape. This design for a new metropolitan park landscape in Amsterdam East shapes the transition from city to countryside. Not one connection but the relationship determines the quality of this design in which various issues and contradictory interests are resolved within a single design. The residual spaces are replanned as landscape ëroomsí and connected within the urban fabric to form a vibrant metropolitan park landscape. Historical elements such as windmills, fortifications and pumping stations are transformed and reprogrammed to reflect the function newly added to the landscape.

Graduation date 01 02 2012

Commission members Berdie Olthof (mentor) Peter Veenstra Esther Reith

148

Additional members for the examination Berno Strootman Rik de Visser

David Kloet

149

Landscape Architecture

The Green Heart of the Randstad Metropolis is threatened by urban growth. The Randstad has gradually lost sight of the value of the landscape.

The national policy on landscape was a multiple layered system. It demonstrated great care for the landscape. The policy on spatial planning is now being abandoned.

Planning framework: Kiss between the Green Heart and the Blue Heart

Valuable ecological connection between East Atlantic Flyway and The Green Axis (gradation from ecologically valuable landscapes in lower-lying peat areas.

Size of area

Tripartition: From park to landscape

Connections and access through circulair routes

Surrounding countryside designed as three types of parklandscape: ‘Park Nieuwe Diep’, ‘Diemer Park Circuit’ and ‘De Polder Ring’

Parkconnector ‘Overdiemen’. Spectacular bridge connection for pedestrians and cyclists, which completes the urban fabric between IJburg and Diemen.

150

David Kloet

Strategic design for Diemerscheg

Route over canaldike at Nieuwe Diep Park. The rapid (inter)national transport flows of the Amsterdam-Rijn Canal converge here with the slow pace of cylists and pedestrians.

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Landscape Architecture

Flevoveld forms the central open field in the new central park between IJburg, Zeeburgereiland and the Indische Buurt. It is situated right beside the water and features public baths, intimate spots and exciting views.

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David Kloet

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Landscape Architecture

Katinka Pricken A dynamic delta for Amsterdam Waterland of desire Waterland is a unique peat meadow area where time stood still. It’s an image we want to preserve. The result is that the area is literally locked. Farming life seems to go hand in hand with nature, but appearances can be deceiving. Waterland is inflexible and vulnerable.

- Various problems present themselves. There are six main problems.

- Farmers find themselves facing a dilemma. They can’t compete with the Dutch market.

- The ground level is decreases dramatically with a minimum of 1 cm. per year.

- Waterland is dependent on water from outside the area and is subject to salinization.

- It is a protected meadow bird area, yet the number of meadow birds is declining.

- The demand for more recreational amenities is rising, but the area is not equipped to provide them.

- The accessibility is poor.

All problems can be traced back to the rigid watersystem. A future for Waterland begins by sorting this out. A sturdy and independent system is needed. Intervening in the area is unavoidable, and there is a need for a zone where water dynamism is possible.

A look at the history of the area is enough to discover that the solution lies in its original functioning. The current Aeën and Dieën are remnants of a former delta. If these ancient channels are given space again, the peat landscape can sustain itself and the original, very strong, connection between the city and countryside can be restored. The peat landscape will be unburdened because the waterways will acquire a prominent position again in terms of access.By boat you can buy food directly from the farmer and also the famer uses the waterways to bring his products to the city.

But it’s not that simple to restore a dynamic water level. For this, low quaysides are needed for this, and these too are deployed to improve the infrastructure. Benches adorn the quays at various points.

The result is an exciting and varied landscape of swamps, reedy land, meadows and peat. The area can be reached by boat, on foot or by bike. Recreational amenities are broadened to include wild camping, sunbathing, bird-watching spots, and stand­up paddling (supping) facilities. What’s more, it is an edible landscape. As the area diversifies, so too do the flora and fauna. Various animals and plants are on the menu. The new recreational amenities are linked to businesses and generate new sources of income Realising the delta amounts to an incision in the peat landscape that harmonises with the Amsterdam tradition. An intervention of 1200 hectares ensures a future for the entire area of Waterland Oost, a landscape of 5000 hectares!

Graduation date 29 08 2012

Commission members Nikol Dietz (mentor) Berdie Olthof Wim Voogt

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Additional members for the examination Maike van Stiphout Ben Kuipers

Katinka Pricken

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Landscape Architecture

Amsterdam delta ‘dry’

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water meadowland / waterlogged terrain grassland reed land visual relations existing development bordering quay next to existing roadway quayside cycle lane quayside footpaths quay along village or garden quay pathway for browsing stick path / jetty path peatland reclaimed land 1st category bridge 2nd category bridge 3rd category bridge lock pumping station existing bridge or lock Water Mill special ferry 1st category (existing) ferry 2nd category (existing) cable ferry tourist transfer point (rental) differentiation of quay bike canoe / boat sup cattle farm crops extensive cattle farming gastronomy / sale of local produce tea house Waterland picnic basket farm shop social care farm boot path wild camping sunbaths campfire spot birdwatching hut fishing jetty hunting game menu

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Landscape Architecture

first principle: Expending the existing wateroutlet and make it navigable

Component: do nothing

Second principle: Making a border for the delta by using existing landscape elements

Component: excavate

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Component: raise

Katinka Pricken

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Frank Rietveld Bluemotion

Landscape Architecture

Since the first impoldering in around 1415, the island of Goeree-Overflakkee has had a long and imaginative history of development. The reclamation of the sedimentary mud flats and salt marshes one by one resulted in the characteristic organically grown landscape pattern of meandering, planted dikes and agricultural polders with streams and low-lying banks.

With the closure of the Haringvliet inlet as part of the Delta Works in 1970, a freshwater lake was created in what was originally a brackish tidal delta, and the continuous availability of fresh water caused agriculture on the island to blossom, literally and figuratively.

The proposal to partly open the Haringvliet sluices, however, threatens the guaranteed supply of fresh water (for agriculture and potable water) unless interventions are made. The Bluemotion proposal offers an answer, in 3+1 plan layers, to the current question concerning the guaranteed supply of fresh water, even if the salt border in the Haringvliet inlet shifts. The project also illustrates opportunities for quality landscape developments that can be achieved.

The first plan layer shows the cultural-technical intervention of the east-west oriented supply of fresh water. A raised water channel made of concrete carries fresh water to the island. In view of the existing plot structures and ownership and usage structures, this intervention guarantees the most efficient supply and the best water quality. The raising of the water channel and the specific route through the landscape leads to a sustainable system in which the supply of fresh water and the removal of brackish water from the ditches can be separated simply and sustainably.

With the development of a sustainably separated water system, the current fluctuation of the salt level in the polder water is countered. The system ensures the best water quality for the farmers and their crops and the best ecological opportunities for flora and fauna in the surface water. The second plan layer details the repair of the streams with their low-lying banks. They form lost but originally so characteristic and ecologically valuable north-south oriented elements from which this landscape partly derives its identity.

The third plan layer consists of a new fine-meshed network of roads and paths that now make the landscape accessible for recreational use too.

The final plan layer (3+1) forms the link between existing and new entrepreneurs and the new landscape network. The repair of the streams and the development of recreational routes can lead to a regaining of identity, direction and hence economical opportunities for the farms. Small recreational businesses or completely new settlements rooted in the landscape on the basis of landscape qualities can develop.

Graduation date 08 03 2012

Commission members Eelco Hooftman (mentor) Ivonne de Nood Rik de Visser

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Additional members for the examination Mirjam Koevoet Berno Strootman

Frank Rietveld

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Landscape Architecture

Goeree-Overflakkee in de zuidwestelijke delta

Intervention on three plan layers: - east-west oriented freshwater supply; - north-south oriented streams with banks; - and a brand-new recreational network

Site map

Een verbeelding van de opgetilde zoet wateraanvoer

Een verbeelding van het nieuwe (recreatieve) netwerk

`Stillsâ&#x20AC;&#x2122; uit de animatiefilm `BLUEMOTIONâ&#x20AC;&#x2122;

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Frank Rietveld

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Nadine Schiller Primadomus

Landscape Architecture

A safe haven for mistreated primates and large felines Primadomus consists of a refuge for mistreated apes and large felines, and an information centre. Primadomus is also the entrance to the breathtaking nature preserve called Sierra de Salinas.

Located in Spain, Primadomus lies along the transition from the extensive wooded mountain landscape of Sierra de Salinas to the lower valley. The area is bisected by a system of barrancos (dry riverbeds) that are dry in the summer, but in the winter they transform quickly into rapid streams as rainfall from the north-east crosses the area.

Visitors at the centre can learn about the Sierra de Salinas, and can find out more about providing refuge for and resocialising mistreated, exotic animals. From the information centre, a trail leads past a barranco towards the Sierra de Salinas. This track crosses the terrain of Primadomus.

The Primadomus refuge is designed according to the principle of ‘landscape immersion’ whereby the shelters are integrated as much as possible into the landscape, but in an innovative manner. The animal parks designed according to this principle are often introverted worlds where various landscapes are imitated in an artificial manner, complete with concrete rock formations and imitation trees. The parks have little or no relation to the context. As a reaction to such places, Primadomus is integrated as much as possible into the existing landscape. Animals are not classified according to origins or species but according to the wishes and demands of the animals in terms of their shelter requirements. No new landscapes are built. Instead, the existing landscape accommodates the animals. The importance of the animals and the quality of the landscape count most of all. Thanks to the application of just one of the ‘landscape immersion’ principles — namely the elimination of barriers between shelters and of interior shelters — visitors enjoy the feeling of being on a safari in the Spanish landscape.

Making the shelters as big as possible means that the animals have enough space to hide from visitors, and thus the animals at Primadomus enjoy the prospect of the best possible future. A walk through Primadomus does not guarantee a glimpse of the apes.

Instead, visitors will really have to do their best to see the animals.

Graduation date 10 07 2012

Commission members Harma Horlings (mentor) Jana Crepon Paul Achterberg

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Additional members for the examination Rik de Visser Rob van Leeuwen

Nadine Schiller

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Landscape Architecture

Current situation

Current situation with height

Design

Sections of Primadomus

General sections of converted barranco

General sections of converted barranco

Mood collage of barranco

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Nadine Schiller

Section of entrance building to Sierra de Salinas

Section of entrance building to Sierra de Salinas

Model entrance building to Sierra de Salinas

Section of entrance building to Sierra de Salinas

Mood collage of Sierra de Salinas entrance

Generic lion shelter in almond orchard

Mood collage of lion shelter in almond orchard

Mood collage of lion shelter in almond orchard

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Landscape Architecture

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Nadine Schiller

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Jury report on selection of Archiprix 2013 nominations Aart Oxenaar chairman of the jury

Jury report on Archiprix 2013 nominations Archiprix is the annual prize awarded for the best graduation projects from Dutch schools of architecture, urbanism and landscape architecture. The Amsterdam Academy of Architecture can nominate 4 out of a total of 27 entries from the 9 participating schools for the prize.

The projects nominated for Archiprix 2013 are:

This year’s jury consisted of head of landscape architecture Marieke Timmermans, head of architecture Jarrik Ouburg, head of urbanism Arjan Klok, and academy director Aart Oxenaar (jury chair).

Landscape architect Ronald Rietveld acted as visiting critic. Some 30 projects - 6 landscape architecture, 2 urbanism and 22 architecture - were assessed during the selection process. The judging took place at the ARCAM gallery in Amsterdam, where the projects were on show from late November 2012 until early January 2013.

The judging process was divided into three stages. A study and discussion of all schemes resulted in an initial selection of 9 projects. Criteria applied in making this first selection were: the relevance and topicality of the assignment; the clarity of the concept; the level of development and elaboration (‘proof of study’); and the uniqueness of the design intervention.

The projects selected in this round were by: Jan Pieter Penders, Jan van Grunsven, Ricky Rijkenberg, Donna van Milligen Bielke, Geurt Holdijk, Anna Allis, Anne Fleur Aronstein, Tara Steenvoorden and Michiel van Driessche.

Historical and typological analysis that is intelligently and inventively deployed to facilitate the conversion of a monumental edifice – the former courthouse in Amsterdam – for a new public function, make this scheme a substantively strong contribution to a highly topical issue. Consistent, complete, convincing and displaying a passion right down to the details, resulting in exceptionally attractive new spaces: Tara Steenvoorden, ‘Pas de Deux’: a national ballet school for Amsterdam.

This project reveals the invisible in an unsolicited, unexpected and highly authentic manner. It connects a forgotten yet historic and highly charged underworld with a vibrant world above in a European metropolis.

Controlled, in essence simple, yet rendered material in a unique manner, and with exceptional attention for the factor of time: Ricky Rijkenberg, ‘Zutritt verboten’: a time capsule for Vienna.

Criteria applied in making the definitive selection, in addition to those already listed, were the individual character of the design statement, its visual and conceptual power, and its elaboration within the scheme.

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Jury report on Archiprix 2013 nominations A desire to make a monumental statement for such an emotionally charged site in the city of Amsterdam – the controversial combination of City Hall and Opera House in the Stopera — calls for courage. On the basis of a unique spatial study, the designer succeeded in reconnecting three public programmes – market, city hall and theatre – within an exceptional structure.

A richly varied series of spatial sequences supported by powerful graphic images, which turn the procession through the enfilades almost into a ritual, ensure the instant appeal of this project: Donna van Milligen Bielke, ‘Reversed Boogie Woogie’: a new city hall for Amsterdam.

Mankind creates settlements step by step.

Or rather, mankind in this project descends on a landscape shaped and dominated by sun, sand, wind, and a little relief.

A strategy of occupation for an uninhabited world is developed on the basis of a strong concept and grafted onto the site. In a fascinating series of drawings, attesting to a highly personal style, this strategy is elaborated step by step and a temporary settlement emerges — an oasis in the desert: Anna Allis, ‘Sous le sable’: souvenir of a city in the air.

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Colophon Amsterdam Academy of Architecture Waterlooplein 213, 1011 PG Amsterdam, The Netherlands T +31 (0)20 531 8218, info@bwk.ahk.nl, www.academyofarchitecture.nl Advisory Board Rogier van den Berg, Machiel Spaan, Marieke Timmermans Editorial Board Aart Oxenaar, Machiel Spaan, Klaas de Jong Editor-In-Chief Klaas de Jong Translation Billy Nolan Copy Editing Mark Speer, Nik Berkouwer Photography models Hans KrĂźse Graphic Design Studio Sander Boon, Amsterdam

Š 2013 Amsterdam Academy of Architecture

Master of Architecture / Urbanism / Landscape Architecture Amsterdam Academy of Architecture Architects, urban designers and landscape architects learn the profession at the Amsterdam Academy of Architecture through an intensive combination of work and study. They work in small, partly interdisciplinary groups and are supervised by a select group of practising fel­low professionals. There is a wide range of options within the programme so that students can put together their own trajectory and specialisation. With the inclusion of the course in Urbanism in 1957 and Landscape Architecture in 1972, the academy is the only architecture school in the Netherlands to bring together the three spatial design disciplines.

Some 350 guest tutors are involved in teaching every year. Each of them is a practising designer or a specific expert in his or her particular subject. The three heads of department also have design practices of their own in addition to their work for the Academy. This structure yields an enormous dynamism and energy and ensures that the courses remain closely linked to the current state of the discipline.

The courses consist of projects, exercises and lectures. First-year and second-year students also engage in morphological studies. Students work on their own or in small groups. The design projects form the backbone of the cur­riculum. On the basis of a specific design assignment, students develop knowledge, insight and skills. The exercises are focused on training in those skills that are essential for recognising and solving design problems, such as analytical techniques, knowledge of the repertoire, the use of materials, text analysis, and writing.

Many of the exercises are linked to the design projects. The morphological studies concentrate on the making of spatial objects, with the emphasis on creative

process and implementation. Students experiment with materials and media forms and gain experience in converting an idea into a creation.

During the periods between the terms there are workshops, study trips in the Netherlands and abroad, and other activities. This is also the preferred moment for international exchange projects. The academy regularly invites foreign students for the workshops and recruits well-known designers from the Netherlands and further afield as tutors.

Graduates from the Academy of Architecture are entitled to the following titles: Master of Architecture (MArch), Master of Urbanism (MUrb), or Master of Landscape Architecture (MLA). The Masterâ&#x20AC;&#x2122;s

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2011-2012 Graduation Projects features the work of students who earned their degree during the 20112012 academic year at the Amsterdam Academy of Architecture. The projects by the 31 Masters of Architecture, Urbanism and Landscape Architecture are introduced by visiting critic Ronald Rietveld.

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