Reactivating Terrain Vague space

The DESIGN of a SOCIAL INCUBATOR in LOMBOK, UTRECHT, the NETHERLANDS a REGENERATION of ‘TERRAIN VAGUE’ SPACE a project by A. Holm 2021 1

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The DESIGN of a SOCIAL INCUBATOR in LOMBOK, UTRECHT, the NETHERLANDS a REGENERATION of ‘TERRAIN VAGUE’ SPACE a project by A. Holm 2021 3

This documents was submitted in partial fulfillment of the requirements for the degree Masters of Architecture (Professional) Nelson Mandela University School of Architecture Port Elizabeth South Africa All rights reserved. No part of this document may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher, except for the inclusion of brief quotations in a review.

September 2021 Alma Holm s216631661

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DESIGN TREATISE LANGUAGE PRACTITIONER DECLARATION Please type or complete in black ink FACULTY: Arts SCHOOL/DEPARTMENT: Architecture I, A Murdoch, being the holder of the following qualifications: MA (Applied Languages), certify that I am the language editor for A Holm (s216631661), a candidate for the degree Master of Architecture (Professional), with a treatise entitled: The design of a social incubator in Lombok, Utrecht, The Netherlands – a regeneration of ‘terrain vague’ space. I hereby certify that I have edited the language usage and referencing in her design treatise document in its entirety and believe that it is ready for examination.

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_______________________ LANGUAGE PRACTITIONER

15/09/2021 __________________ Date

________________________ STUDENT

16/09/2021 __________________ Date

Acknowledgements I would like to give thanks to my supervisor, Andrew Palframan, for the wise insights and encouragement throughout the year. It has been an interesting experience to work and study in a thirdspace environment this year.

Thank you to Riette Kotze, Boban Varghese, and Graeme Eckley, for guiding me through the master’s programme.

Finally, thank you to my dearest friends and family for your role in my life. Thank you for your support throughout a year full of tumble turns. I cherish you.

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Abstract ‘Terrain vague’, a collective term coined by Spanish architect Ignasi Sola-Morales, denotes the unused, forgotten spaces located inbetween categorised spaces and artefacts.

It is an omnipresent typology found within productive structures of urban environments, yet ‘mentally exterior to them’ , in other words detached from the energies that surround them. Physically, these spaces are identified as traffic circles, parking lots, open plots, spaces underneath highways, or forgotten buildings.

These spaces have a strangeness to them, the detachedness from the conventions of their surrounds gives them a sense of mobility, freedom, and liberty. This creates a perfect environment for the exploration of new ideas.

Therefore, this unrealised potential makes these spaces best understood as a relationship between the absence of use, and the sense of expectancy.

Mobile interconnectedness has created a transition in the way we work and live together. According to Raumlabor (2018), these new socio-cultural and economic challenges demand new types of solutions which cannot be solved by top-down monofunctional implementations (Raumlabor, 2018). According to design studio Knoll (2020) “the home has become less home, and the office type has vanished. Instead, the work space has changed into a playground where connections are made and interaction is fostered”. This socio-cultural transition creates 10

a shift in the appropriation of space, therefore creating a demand for new types of solutions (Knoll, 2020).

This treatise investigates a process of renegotiation of leftover space on Westplein in Utrecht in the Netherlands. The site is an example of ‘terrain vague’ centrally located in the city. The municipality of Utrecht has initiated a temporary intervention on Westplein run by local societies and residents of the neighbourhood Lombok. The aim of this intervention is to generate input from locals through the act of placemaking before the reconstruction of the area into a public park.

Furthermore, this intervention also aims to stimulate interaction and connection between local residents as a means to negate the potential for another gentrification process.

Therefore, this project is a continuation of temporary activities run by the societies Stichting Perron West, Lucrative Dumpsterdives and Pluktuin. These activities include providing flexible workspace for local residents, collaborative public art workshops, events, concerts, gardening and other activities that connect local artists with residents.

This project proposes an ‘architecture as

communal and continuous process’ which reflect the needs of the current users, but is capable of being adapted to the technical ability of everyone in order to fulfil the needs of the future users without the creation of waste during its transformation. The proposed typologies, namely citylab and social incubator, aim to create a platform for connection, to stimulate small scale social entrepreneurship that contributes to the creation of a better local urban environment.

‘Reflections of our own insecurity. Our vague wanderings through limitless spaces constitue both a physical expression of our fear and insecurity, and our expectation of the other, alternative, ‘utopian’ future” 11

Contents Background/Problem statement Aim Objectives Methodology Part 1

Chapter 1: theoretic underpinning • • • • • •

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Chapter introduction What is ‘terrain vague’ space?

The role of ‘terrain vague’ spaces as third space The changing notion of public space Work=play From vague to place: Circularity Placemaking Elasticity Summary statement

Chapter 2: Site analysis • •

Chapter introduction Westplein as ‘terrain vague’ space Westplein compared to ‘terrain vague’ ‘Terrain vague’ in the global context • Metro scale analysis: The Netherlands as meeting place • Sub-metro analysis: Utrecht as meeting place -Prominent meeting spots in Utrecht -Renewal of Station area -Utreacht Centraal Station -City centrum 12

-Jaarbeursplein -Utrecht Leidse Rhijn -Molen de Ster • Precinct analysis: Lombok as meeting place The neighbourhood as meeting place Ulu mosque • Site analysis: Westplein as meeting place • Summary statement

Chapter 3: typology study • • • • •

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Chapter introduction What is a citylab?

The potential of a citylab in South African context What is a social incubator?

The users: Inhabitants vs guests Inhabitants Guests A platform for collaboration Coworking/business incubator Makerspace Multiuse performance centre Urban farming/greenhouse Market/café Summary statement

Chapter 4: Principle exploration • •

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Chapter introduction The building as a ‘playground’ -New Babylon, Constant Nieuwenhuys -Aldo van Eyck -Isamu Noguchi Follies in the veld Temporary = permanent Design-for-disassembly Building as a park Material study -Recycled materials -Biobased materials Systems Summary statement

Part 2

Chapter 5: Brief and programme • • •

Introduction Design brief Programme of requirements

Chapter 6: Design development • A closed-loop system • Placemaking through field theory • Atmosphere/character of site intervention • Urban Framework Proposal • Programme • Systems • Social Space List of figures List of references 13

Background/Problem Statement Spaces are empty compared with others that are not, and some spaces are emptied compared with others that are being filled. But, is it possible to have spaces which are not empty and, yet not filled?

– Akshitaraina (2017) Located within the productive structures of urban spaces, empty or abandoned spaces devoid of activity, use and identity can be found. These spaces, coined ‘terrain vague’ spaces by Spanish architect Ignasi Sola-Morales, are the forgotten territories situated in-between categorised buildings and places.

Physically, these spaces could be identified as traffic circles, parking lots, open plots, spaces underneath highways, or forgotten buildings that are uninhabited, unsafe and unproductive (Sola-Morales, 1995: 120). These spaces have a strangeness about them that stands in opposition to the energy which surrounds them. Therefore, left untreated they slowly decay, causing an urban sprawl away from them. However, according to Sola-Morales, these leftover spaces are best understood as a relationship between the absence of use, and the sense of expectancy (Sola-Morales, 1995: 120). Unbound to the rigidness of existing structure, these spaces contain a sense of mobility, freedom and liberty.

The researcher’s intrigue with ‘terrain vague’ spaces led to the question: how can we renegotiate leftover space, to reactivate leftover 14

Figure 1: Trafford Centre, Manchester (Daview, 2005)

spaces that reflect new ways of living and working in urban environments? This question led to the discovery of Westplein in Utrecht in the Netherlands, the chosen site for this treatise. Westplein is a traffic circle surrounded by a concrete jungle of skyscrapers, row houses and tarred roads. The site is ideally located in the centre of the city, yet detached from the activity that surrounds it. Lombok, the neighbourhood next to the site, is the most culturally diverse area in the city of Utrecht. The neighbourhood carries a past of social decay and gentrification which has resulted in a fragmented society in need of communal social space for collaboration. Local initiatives Stichting Perron West and Pluktuin, Lucrative Dumpsterdives (LDD), have recently moved their activities to Westplein with the intention to reactivate the site in the form of a creative public playground to stimulate a ‘new way of living’ for the community of Lombok (Kumar, 2021).

Figure 2: Westplein as ‘terrain vague’ space (Author, 2021) 15

People are living in a period where the rigidness of time and place no longer regulates their activities. Instead, people have adopted a mobile lifestyle where the work sphere has changed into a large social playground where connections are made and interaction is fostered. Digital advancement and the impact of the Covid-19 pandemic have sped up this shift where distance work is now the new norm. The freedom and self-directed nature of people’s current working patterns can be likened to the act of playing. This socio-cultural transition leads to new demands, and new possibilities for the appropriation of public space (Raumlabor, 2018). Public space, according to Berlin based architecture collective Raumlabor (2018), is the new platform in which a society can participate to renegotiate and share ideas for a sustainable community.

Finally, as a response to the urgent need to address climate change, the Netherlands has initiated a government-wide experimental programme which aims towards a circular economy in 2050, specifically addressing the built environment. This shift is highly dependent on the interconnectedness of people and societies. The local resources in Lombok provide an ideal variety to catalyse such a transition towards a circular economy. Furthermore, the implementation thereof is already present in the activities initiated by Stichting Perron West Lucrative Dumpsterdives (LDD), and Pluktuin.

The process of activating ‘terrain vague’ has the potential to unlock new types of local working environments, interaction, and living 16

patterns of post-industrial society (Raumlabor, 2018). However, the role of the architect becomes problematic. According to Sola-Morales (1995), architecture’s destiny is to impose limits, order and form to make strange places recognisable. Only an architecture of duality, or an architecture which does not follow the traditional mode of making, can fully open up the potential encapsulated in ‘terrain vague’ spaces (Sola-Morales, 1995).

Aim This thesis project aims to transform “vague into place” by exploring a process of renegotiation of leftover space with concepts including circularity, placemaking and elasticity. These theories will be applied to Westplein, a leftover territory in the centre of Utrecht in the Netherlands.

Figure 3: Westplein as closed-loop system of activities (Author, 2021)

Figure 4: Westplein as regenerated ‘terrain vague’ space (Author, 2021) 17

Objectives In order to reach the aim of this thesis, a number of objectives are identified to guide the research process: 1. To study various texts that support the theoretical underpinning of this thesis as guidance.

2. An in-depth study and understanding of socio-economic and physical context to generate a set of constraints and informants.

3. To understand a number of design principles that determine the design process.

This will include design approaches related to circularity; methods to enable co-creation and participatory design; landscape strategies to increase local biodiversity; permaculture, as well as material study of bio-based and recycled materials.

4. To develop an appropriate brief for the design.

Methodology Methodology refers to the strategy that underpins the research project, which in turn informs the methods appropriate for the specific research. Research in design starts with addressing a specific design problem. The design problem dealt with in this treatise is that leftover space or ‘terrain vague’, is a prominent feature in urban landscapes globally. The pace of construction and demolition causes an increase in forgotten ‘terrain vague’ spac18

es which end up a hotspot for urban decay and for urban sprawl away from them. Design research in this field could potentially formulate a proposal that stimulates an alternative narrative for urban development.

The research question is a tool to prompt information about strategies to resolve the design problem. The research question for this treatise is: how can people renegotiate leftover space, to reactivate leftover spaces that reflect new ways of living and working in urban environments?

It should be taken into consideration that the position of the researcher plays a vital role in the potential outcomes of the investigation.

In this treatise, the research is focused on a context which is very different from the social background of the researcher. Having been an inhabitant of Lombok in Utrecht, the researcher understands to a certain, limited degree, the multicultural neighbourhood from the perspective of an immigrant. However, the researcher’s South African background, differs from the general background of residents in Lombok, who predominantly originate from Turkey and Morocco. Furthermore, the researcher’s understanding of Dutch culture and climatic conditions is limited in comparison to that of a local Dutch inhabitant.

This treatise is underpinned by a concern with the re-activation of ‘forgotten’ urban environments through a bottom-up, participative approach. Due to this focus, the theoretical

position in this treatise is based in the critical lens. Critical theory is a social theory directed towards the questioning and changing of societies. The researcher’s role, in using the critical theory lens, is to critically observe existing design practices in order to initiate change. The purpose of this form of research is to explore how the user is affected by design practice and systems in order to change existing material practices and trends of design. The critical lens also explores how individuals relate to the larger social or institutional context.

Due to the interest of this treatise in social space, or the activation thereof, the methodological framework will be based on the qualitative school of thought. Qualitative research is defined as the collection of non-numerical data in order to understand concepts, opinions and experiences. It is the opposite of quantitative research which involves the analysis of numerical information. Therefore, the methods chosen to collect information for this treatise will include a range of primary and secondary methods. Primary methods refer to the collection of primary sources either by the researcher or research participant, while secondary methods refer to the collection of secondary data which have been generated by other researchers. The primary research methods used to collect information about the physical context include photographs, sketches and description of experience on site, whereas the information on social conditions were collected through conversation and observation. Secondary research methods used to collect information 19

include podcast interviews, articles, website information, social media pages, events advertisements, maps, archive photographs, photographs, articles and books.

Furthermore, the analysis of qualitative information is predominantly an exploratory, creative and iterative process due to the open-ended nature of the research. Abductive analysis is an approach to generate theory from qualitative data when encountering surprising, anomalous observations in need of new theories, and therefore especially useful to designers. This study will make use of abductive reasoning to generate conclusions. The result of the research analysis will be presented in the form of new research text, supported by visuals to convey information. A range of presenting methods, including maps at different scales, drawings and diagrams, and conventional architectural drawings including plans, sections, elevations, as well as non-conventional representations including animations, cartoons, graphic novel and collage in order to communicate to a wider public.

Chapter 1: Theoretic underpinning

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Site introduction This chapter introduces the main theoretical position of the project. Leftover space, or ‘terrain vague’ is the unused spaces located in-between categorized spaces and artefacts.

They are also referred to as third space, coined

by Edward J Soja (1996): liminal- or threshold space, from the Latin word ‘limen’; or mental space by the philosopher Henri Lefebvre (1991).

The research statement for this thesis is that these leftover spaces can be activated or reactivated by creating a social platform which connects existing activities and energies.

Public space, according to Berlin based architecture collective Raumlabor, is the new platform in which a society can participate to renegotiate and share ideas for a sustainable community – it is where new types of local working environments, interaction, and living patterns of post-industrial society is reflected (Raumlabor, 2018). Mose Ricci (2019) states: ‘The city already exists, it’s simply a manner of connecting its parts with one another’ (Mose Ricci, 2019).

The researcher’s intrigue with leftover space will be discussed in this chapter by unpacking the description of ‘terrain vague’ through the understanding of the theory by Spanish architect Ignasi Sola-Morales. Next the chapter will express the role these spaces play in a variety of urban contexts by understanding the notions of social space as argued by French 22

Marxist philosopher Henri Lefebvre. The chapter will also elaborate on the changing notion of social space due to the advance of technology, relating the work sphere to the act of play as first discussed by Dutch social geographer Johan Huizinga and implemented in architecture by Dutch architect Constant Nieuwenhuys. Finally, the chapter will focus on a number of theories including placemaking, elasticity and circularity which could be employed to transform these vague territories into social places that foster social interaction.

What is ‘terrain vague’?

The term ‘Terrain Vague’ was coined by Spanish architect Sola-Morales as abandoned, obsolete and unproductive areas, without clear definitions and limits. They are the forgotten places that are leftover as a result of the construction of their surrounds.

According to Sola-Morales, these spaces are situated internal to the city and its productive structures, yet external to its use.

They are ‘interior islands void of activity, and therefore simply un-inhabited, un-safe and un-productive ’ (Sola-Morales, 1995). In the physical sense, these spaces could be identified as traffic circles, parking lots, open plots, space underneath highways, or forgotten buildings.

Examples of ‘terrain vague’ spaces

Figure 8: John Davies’ Mersey square, Stockport (Author, 2021)

Figure 5: Jannes Linder’s Lelystad circle (Author, 2021)

Figure 9: John Davies’ Runcorn Bridge, Chesire (Author, 2021) Figure 6: Jannes Linder’s Scheptediepte (Author, 2021)

Figure 7: John Davies’ Manchester (Author, 2021) 23

Figure 10: Manolo Laguillo’s Nacimieto de la Diagonal (Author, 2021)

Strangers in our own land, strangers in our own city, we inhabitants of the metropolis feel the spaces not dominated by architecture as reflections of our own insecurity, our own wanderings through limitless spaces that constitute both physical expression of our fear, insecurity and our expectation of the other, alternative, utopian future (Sola-Morales, 1995: 122) According to Sola-Morales, these leftover spaces are understood as a relationship between the absence of use, and the sense of expectancy (Sola-Morales, 1995). The absence of use, therefore absence of category, gives these places a sense of mobility, freedom and liberty. This situation however makes the role of the architect problematic. According to Sola-Morales (1995: 122), architecture’s destiny is to impose limits, order and form to make strange places recognisable. Only an architecture of duality, or an architecture which does not follow the traditional mode of making, can fully open up the potentials encapsulated in a ‘terrain vague’.

In their project ‘Building the city together’, Berlin based architecture collective Raumlabor, redefines neglected space by turning it into a platform for discussion, for sharing, for being productive. This transformation of space, is a continuous communal process made possible by the diverse inputs of participants and their capacity to collaboratively put physical form to their ideas. With emphasis on the temporary 24

Figure 11: The city as a sphere for action (Raumlabor Berlin 2014)

Figure 12: The city as a sphere for action (Raumlabor Berlin 2014)

and experimental, the process enhances the potential of a transdisciplinary community to address current economic, social and ecological issues and test new ideas to solve them. According to Raumlabor (2018), new socio-cultural and economic challenges demand new types of solutions which cannot be solved by top-down monofunctional implementations (Raumlabor, 2018).

Examples of ‘terrain vague’ spaces

Figure 13: The city as a sphere for action (Raumlabor Berlin, 2014) 25

The role of ‘terrain vague’ as third space First space, according to the American postmodern political geographer Edward Soja, refers to the physical, built environment which can be ‘seen’ and mapped out. Second space refers to conceptual space which can only be ‘seen’ in the minds of people. The understanding of the role of ‘terrain vague’ (as a third space), is dependent on its relation to first- and second spaces, argued Soja (1996). Third space, is a combination of real and imagined space. It denotes to lived space which connects first and second spaces to one another (Soja, 1996: 57). [in thirdspace] everything comes together… subjectivity and objectivity, the abstract and the concrete, the real and the imagined, the knowable and the unimaginable, the repetitive and the differential, structure and agency, mind and body, consciousness and the unconscious, the disciplined and the transdisciplinary, everyday life and unending history. (Soja, 1996: 57).

Soja’s argument was constructed on French philosopher Henri Lefebvre’s three-part representation of spaces, coined perceived space, conceived space, and representational spaces. First space is likened to perceived space, therefore the physical space. Second space is likened to conceived space, implying imagined space. Representational space 26

Figure 14: Lefebvre’s triad of space (Author, 2021)

is likened to third space, therefore lived, social space. Levebvre (1991: 26) states “(social) space is a (social) product. The space produced is thus a tool of thought and of action to being a means of production” (Levebvre, 1991: 26).

His understanding of space implies that all spaces are socially produced as a result of social interaction. According to Lefebvre, “space is not an empty void. It is filled with […] forces shaping our lives and challenging us to engage in struggles over geography” (Lefebvre, 1991). Public space, therefore, is fundamental to the reproduction of society and culture.

The changing notion of public space Collective, or rational spaces, are defined as the formerly described public space. It is a collective space, open to use, to enjoyment, to stimulus, to surprise: to activity. Not only for taking a stroll, but also for personal and/or shared stimulus. A collective space, uninhabited, optimistic, relaxed – and in many aspects changeable, mutable, precarious and reversable - for a city ultimately more joyful and exciting than elegant. (Various, 2003: 605) The current advance of international travel, as well as ubiquitous mobile interconnectedness has made the local context more heterogenous. According to the authors Hight & Hensel & Menges (2009: 12) in “En route: towards a discourse on heterogenous space”, heterogeny is defined as the indirect development of species, and derived from a different individual or species. Heterogenous space, therefore, is the existence of a difference of a wide range of items or qualities, which includes difference in kind and difference in degree, in a concentrated area. According to French philosopher Gilles Deleuze as cited in Hight, heterogenous space is the imminent field of relations between differentials, it is space in constant flux, understood as spacing through which difference manifests, and is created through the immanent unfolding of spatial processes 27

(Hight & Hensel & Menges, 2009: 12).

Digital space now also becomes part of experience which was created in a blur between the boundaries of public and private space (Raumlabor, 2018). This has changed the ways in which people work, interact, and live to become more mobile and more selfdirected. According to the design studio Knoll (2020): “the home has become less home, and the office type has vanished. Instead, the work space has changed into a playground where connections are made and interaction is fostered” (Knoll, 2020). This results in a

Figure 15: Landform Building: Architecture’s New Terrain (Allen, 2015)

Figure 16: Field conditions (Reas, 2010)

transition of activity denoted to first- and second spaces, and as a resultant thereof, third space. This socio-cultural transition leads to new demands, and new possibilities for the appropriation of public space.

Work = play The word ‘play’ cannot be defined as a single characteristic, yet a rough summation of the word according to Peter Gray in The Definitions of Play (2013), refers to an imaginative activity to occupy oneself (or a group) in an action for amusement or of recreation . The act of playing is intrinsically valued, meaning that the process is more important than the estimated product.

Predominantly, play is self-directed or selfdriven, guided by a set of mental rules which intend to stimulate creativity and exploration (Gray, 2013). According to the Dutch cultural historian Johan Huizinga, in the book ‘Homo Ludens’ (1973):

capitalist city depicting an ‘alternative future’ through a series of paintings, sketches and models. The architect aimed to create an alternative life experience based on the experience of the Homo Ludens – the title denoted to the Man at Play from Johan Huizinga’s book – through the design of a series of linked, transformable structures, which allowed for the uninterrupted process of creation and recreation. The project reflected Nieuwenhuys’s depiction of a postrevolutionary society based on the idea that

Play is a free activity standing quite consciously outside ‘ordinary’ life as being ‘not serious,’ but at the same time absorbing the player intensely and utterly. It is an activity connected with no material interest, and no profit can be gained by it. It proceeds within its own proper boundaries of time and space according to fixed rules and in an orderly manner.” (Huizinga, 1973: 195) New Babylon, a project by Dutch architect Constant Nieuwenhuys, is a 1960s anti28

Figure 17: Google Sydney (Google, 2019)

architecture could instigate a transformation of daily reality. “It is obvious that a person free to use his time for the whole of his life, free to go where he wants, when he wants, cannot make the greatest use of his freedom in a world ruled by the clock and the imperative of a fixed abode”, expressed Nieuwenhuys (1960), “[therefore] everything must remain possible, everything must be able to happen, the environment is created by the activities of life and not the other way around”.

The ‘alternative future’ imagined in New Babylon has become our present. With the current tools and knowledge at our disposal, we have the ability to put physical form to this imagined space, and therefore, creating a third space reality.

Figure 18: Playgrounds, Aldo van Eyck, in Amsterdam, NL (Icon, 2008)

Figure 19: Construction with ladders (Nieuwenhuys, 1961)

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From vague to place As discussed in this chapter, ‘terrain vague’ is a space in-between productive structures with an unrealised potential of being activated.

The strangeness of ‘terrain vague’ spaces, gives them a sense of independence from the conventions of their surrounding forces. This independence creates the perfect opportunity for society to explore new ideas of living and being together in a time of rapid change. In this treatise, the theories of circularity, coined by the Ellen MacArthur Foundation; placemaking, an urban intervention in consideration of its local users; and elasticity, coined by the Hungarian born French architect Yona Friedman, will be applied to turn ‘terrain vague’ space into a welcoming urban place.

Circularity, or the circular economy, is a sustainable design strategy which aims to keep products from becoming waste by considering the end-of-life use during the design phase.

This entails the use of recycled or bio-based materials that are assembled in a manner that is easily taken apart for reuse or maintenance (Foundation, 2011). Placemaking is an urban design strategy where the inputs, activities and energy of existing local users inform the design of urban interventions (Spaces, 2007). Finally, elasticity is a design concept coined by Yona Friedman which entails the design of structures which are easily adjusted to accommodate the individual needs of a wide variety of users (Friedman, 2017).

These theories will be employed to inspire 30

the design process, or activation process, on Westplein in Utrecht in the Netherlands.

Circularity [A] given number of objects is shifted within a given space, at times submerged by a quantity of new objects, at times worn out and not replaced; the rule is to shuffle them each time, then try to assemble them – Italo Calvino, Cities & names, Invisible cities (Calvino, 1972: 107) ‘Like natural systems, great architecture is the product [process] of a circular process’, says Rotterdam based architecture firm Superuse, ‘[it is] a continuous cycle of creation and recreation, use and reuse’ (Superuse, 2021).

Buildings need to be considered as an assembly of components, with each different component reaching its end-of-life at different times. Design-for-disassembly is a circular design strategy referring to the design of demountable building components which can easily be assembled or taken apart during, or at the end-of-use of a building. Less components are used and are assembled with fewer fasteners in a manner that ‘hooktogether’ or gets drystacked. Designers thus liken buildings to toys, for example Lego, Tinkertoy, or Vigablock, which does not require the use of glue to assemble, and where no blocks are thrown away (TU Delft, 2021).

Placemaking

Figure 20: Blade made Wikado Playground and wind turbine sketch (Superuse, 2009, Author 2021)

In Berlin, architecture collective Raumlabor, refers to the term ‘research-based design’ as a method to address ‘forgotten’ urban issues by activating connection between local actors and experts. According to Raumlabor (2018), local residents have valuable information about the history, fears, desires, needs and deficits of their surrounding context. By connecting this diverse knowledge and skill on site, people can invent new ideas of usage patterns and collective ideals for urban diversity together

Figure 21: Floating University Berlin (Raumlabor, 2019)

Figure 22: Osthang Project: Summer School (Raumlabor, 2014) 31

(Raumlabor, 2018). The architect, in this situation, is not the sole designer, but the mediator between existing local resources.

This process of spatial production could be likened to the act of placemaking.

Placemaking denotes the process of creating urban environments by capitalising on the local community’s assets, inspiration and potential to create spaces that enhance the existing energies and forces at the pedestrian scale, built on the habits of locals. Placemaking, according to Project for Public spaces, is not merely the design of a public space, but rather the design of a public space that draws connections to its surrounds, by creating interrelations between existing vendors and retailers, initiatives and societies, activities, and uses that are already in motion. The end result of such an urban intervention is to create cohesion within a community, which in effect has greater value as a unit than just the sum of its parts (Spaces, 2007).

This concept originated from 60s thinkers Jane Jacobs, William H. Whyte and Jan Gehl who offered ground breaking ideas about the design of cities that catered for people. The most crucial insight to placemaking is the account of input of people who will be using the space, since their inputs show an in-depth understanding of local matters. According to Wendell Berry (1972), “imagination is a particularizing and a local force, native to the ground underfoot” (Berry, 1972).

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Elasticity According to Hungarian-born French architect Yona Friedman, a space should be able to be inhabited by the widest range of individuals and purpose. Each individual user is unique, and each user can improvise what he or she wants his or her ideal space to be (Friedman, 2017). In the early 1960s Friedman proposed the concept of ‘manifeste de l’architecture mobile’ or ‘mobile architecture’ with the example of ‘Ville Spatiale’. In this project, the concept of ‘mobile architecture’ was connected to a set of principles which defined the constant changes that characterise social mobility.

According to Friedman (1956), architecture is about people, it is our behaviour that determines change, and architecture should “not resist its users, but accept its users”. He wanted people to construct their own habitats within a larger framework and to select their own environment for it. This was achieved through the design of a structure which could host internal change with the technical means of its users. This enabled the capacity for architecture to host improvisation and constant change.

Elasticity refers to the capacity to change under stress, and change back after use.

In architecture, it is the ability of a building to change, adapt, and adjust to people’s changing needs over time (Thijssen, 2019).

Elasticity therefore allows the user to construct

his or her own environment within a larger framework.

Summary statement

Figure 23: Ville Spatiale (Friedman, 1958)

Figure 24: La Montagne de Venice (NO MAN’S LAND foundation, 2016) 33

‘Terrain vague’, the term denoting the unused spaces in-between categorised places, is a type of third space ubiquitous in urban landscapes. Physically, it can be identified as traffic circles, parking lots, open plots, space underneath highways, or forgotten buildings.

These spaces, according to Sola-Morales are best understood as a relationship between the absence of use, and the sense of expectancy (Sola-Morales, 1995). However, the lack of identifiable activity or use tends to attract decay, terror and criminality, resulting in urban sprawl away from it, thinning out cities and social public spaces.

This chapter studied the potential reactivation of the ‘terrain vagues’ of a city by unpacking the role of these spaces through the understanding of Edward W Soja’s description of third space, constructed on Henri Levebvre’s description of social space. Due to the advance of digital interconnectedness, people’s socio-cultural patterns are changing, resulting in a shift in the appropriation of first-, and second spaces, and as a result, third spaces. Therefore, Berlin based architecture collective Raumlabor (2018) states that public space is now becoming the new platform where a society can participate to renegotiate and share ideas for a sustainable community, reflecting ideals of a post-industrial society (Raumlabor, 2018).

Chapter 2: Site Analysis

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Westplein, the site that people walk past, without spending time on it

Figure 25: People passing by Westplein (Author, 2021) 36

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Figure 26: Westplein aerial view (Author, 2021) 38

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Site introduction This chapter is an introduction to the physical context surrounding the site. The site, known by the name Westplein, is located in Lombok in Utrecht in the Netherlands and is a good example of a ‘terrain vague’ space. This chapter will study the physical qualities which constitute meeting spaces surrounding the site. This will include a cross scale analysis of urban, social and ecological trends in the Netherlands (metro scale analysis), the city of Utrecht (sub-metro scale analysis), and the neighbourhood of Lombok (precinct analysis).

These contexts will be studied in relation to the absence of meeting space on Westplein . From these findings, a composite constraint-andinformants diagram will summarise the main spatial issues surrounding the proposed site at each scale.

is an example of ‘terrain vague’ space. It is a traffic circle situated in Lombok in Utrecht in the Netherlands. The site is located on the west side of Utrecht Centraal Station and Jaarbeursplein, stretching from the Daalsetunnel and Vleutenseweg, towards Croeselaan, Leidseweg and Graad van Roggeweg.

Figure 27: Luchtfoto van de wijk Lombok te Utrecht (Fotodienst HUA, 1999)

Westplein as ‘terrain vague’ space As discussed in the previous chapter, ‘terrain vague’ space is a collective term referring to the unused spaces left over in-between categorized spaces and artefacts situated in urban environments. These spaces can be physically identified as traffic circles, parking lots, open plots, space underneath highways, or forgotten buildings.

Westplein, the site chosen for this treatise, 40

Figure 28: Luchtfoto van de oostedelijke gedeelte van de wijk Lombok te Utrecht (Fotodienst HUA, 1999)

Westplein is an example of ‘terrain vague’ space.

A traffic circle, void of use, definition, or category.

Westplein (site)

Figure 29: Westplein as ‘terrain vague’ space (Author, 2021) 41

Westplein as ‘terrain vague’ space The site is located in-between Lombok neighbourhood and the centre of Utrecht and Utrecht Centraal Station. Hundreds of people move between Lombok and UCS per day, therefore passing by the site. However, nothing attracts people to spend time on the site.

Figure 30: Diagram showing Westplein’s relation to Lombok and Utrecht Centraal Station (Author, 2021)

Figure 31: Diagram showing daily pedestrian movement from Lombok to Centraal Station (Author, 2021) 42

Figure 32: Sitemap showing Westplein as ‘terrain vague’ space (Author, 2021) 43

‘Terrain vague’ space Westplein,

compared to ‘terrain vague’ space examples

Figure 33: Photograph of Westplein as ‘terrain vague’ space (Author, 2021)

Figure 36: Manolo Laguillo’s Nacimieto de la Diagonal (Author, 2021)

Figure 34: Photograph of Westplein as ‘terrain vague’ space (Author, 2021)

Figure 37: Jannes Linder’s Scheptediepte (Author, 2021)

Figure 35: Photograph of Westplein as ‘terrain vague’ space (Author, 2021) 44

Figure 38: John Davies’ Manchester (Author, 2021)

Westplein

‘Terrain vague’ example

Figure 39: Westplein Utrecht 2019 (collectie Het Utrechts Archief, 2019)

Figure 42: John Davies’ Ladbroke Grove, London (Author, 2021)

Figure 40: Westkant Utrecht Centraal (DUIC, 2015)

Figure 43: Manolo Laguillo’s empty Barcelona (Author, 2021)

Figure 41: Ulu Camii, Utrecht (Arno B, 2016)

Figure 44: John Davies’ Runcorn Bridge, Chesire (Author, 2021)

45

As the site is located close to the central station and city centre, the area has faced many transformations, predominantly to diminish ever-present vehicle congestion in the fast-changing city. These include:

As a result, the site has been sliced up by vehicle roads, bicycle routes, pedestrian paths and an express tram line and is further restricted by the train lines on the North East.

These roads awkwardly dislocate the site from its surroundings: an island surrounded by constant noise and traffic.

1. Construction and expansion of Lombok residential area in 1886, until then only a few industrial buildings and “the fields outside of Catharijne” (Couperus, 2017) 2. Dry-laying of the Leidse Rijn canal in 1929, to accommodate the construction of Leidseveer area to manage increased ‘traffic’ around the station area (Leidseveer, 2021) 3. Construction of the Utrecht Centraal Station in 1938 – 1940 into main station, the busiest train hub in the country of which the North-West rails lines pass by the site (Station, 2021) 4. Reconstruction of Westplein area in 1969.

The renovated area used as part of the old town, but was ‘improved’ due to the increased congestion of vehicle traffic and Lombok the need for a speed tramline connection to neighbourhood Nieuwegein (Couperus, 2017) 5. Construction of the Hoog Catherijne complex in the 80s, a large shopping centre which links the train station with the centre Leidse Rhijn (Buiter, 1993) The ancient city plan cannot accommodate many vehicles, yet it attracts thousands of visitors per day. This results in large numbers of vehicles diverted from the central station area , passing the site to other destinations.

46

Utrecht Centre

Westplein Hoog Catherijne Utrecht Centraal Station

Figure 45: Utrecht Centraal surrounds renovation (Author, 2021)

Figure 46: Lay drying Leidse Rijn Canal (Het Utrecht’s archief, 1929)

Figure 47: Het Leidseveer wordt gedempt (unknown, 1929) Het Leidse veer wordt gedempt

Figure 49: Construction of Utrecht Centraal Station (Het Utrecht’s archief, 1940)

Figure 50: Gezicht op het in aanbouw zijnde Westplein te Utrecht (Nederlandse Spoorwegen, 1970)

Er hadden in 1926 en volgennde jaren grote veranderingen plaats bij het Leidse Veer; dit had als binnenhaven geen enkele betekenis meer en het werd nu geheel overkluisd. Men kreeg hier thans een brede toegang tot de binnestad en omdat de ene Catherijnebrug het verkeer toch al niet meer goed aankon, werd in de zomer 1926 begonnen met de werksaamheden voor de bouw van een tweede Catherijnebrug, die ten zuiden van de eerste brug kwam liggen.

Links op de hoek van de Vleutenseweg staat nog de Cafe de Beurs. In deze jaren werd ook de doorgang van de Leidseweg naar de Neude veel gemakkelijker gemaakt.

Figure 48: Het rontonde bij het Leidse veer (unknown, 1940) 47

Figure 51: Luchtfoto van de Daalsetunnel te Utrecht (Het Utrecht’s archief, 1970)

Surrounding forces & energies Surrounding Westplein today, a number of forces and energies play out onto the site: To the east, Utrecht Centraal Station, the most connected transport hub in the country, is a social meeting place where thousands of commuters pass through every day. Also to the east is the Jaarbeursplein, a newly transformed skate- and exercise park attracting young people during all seasons.

Figure 52: Energies in Utrecht Centraal and Jaarbeursplein (Author, 2021)

To the west, the site shapes the tip of the multicultural neighbourhood of Lombok, originally home to migrant workers and now a diverse mix due to gentrification in the 1980s.

Located to the east is Utrecht Centrum , a compact, vibrant social city enveloped by the Singelgracht and Zocherpark, containing historic buildings from the Middle Ages and a large variety of activities and smallscale commerce which attract thousands of pedestrians and cyclists on a daily base.

Figure 53: Lombok neighbourhood (Author, 2021)

Finally, Leidse Rhijn, a canal running from Utrecht city, to the town of Harmelen, which is enjoyed for recreation.

These surrounding areas will be further discussed in this chapter.

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Figure 54: Energies in Leidse Rijn canal (Author, 2021)

Sin l ge

Utrecht Centre

Westplein Ulu mosque Park Plaza Hotel Hoog Catherijne Lombok neighbourhood

elevated train rails

l ana

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elevated train rails

Beatrix theater Figure 55: Composite surrounding forces and energies map (Author, 2021) 49

fietsv de tusse

Foto Leidse Rijn en Leidseweg

De br Kano Sijpe 3 tw de fietsv blo tusse De ni stad totaa bedri 3 horec blo Parkb

Renewal of Station area The special location of the site in-between these contrasting urban areas provides great potential as a connector and social meeting space within the city, and country. However, due to the lack of categorisation and the dominance of vehicle traffic surrounding it, the site invites no activity other than a few ‘unwanted’ guests. The municipality of Utrecht (Utrecht Gemeente) has initiated renewal plans of the Utrecht Centraal Station area, including Westplein. The aim of the transformation is to create more space for pedestrians and cyclist, and to add more greenery to the inner city (Utrecht, 2020: 2-3). The construction will include: 1. The extension of Leidse Rijn canal to its original state connecting to the Singelgracht (Utrecht, 2020: 2) 2. 3 new bridges crossing the Leidse Rijn canal ((Utrecht, 2020: 2) 3. New building blocks (Utrecht, 2020: 2) 4. Pedestrian and cyclist path next to the Leidse rijn canal extension (Utrecht, 2020: 3) 5. Lombokpark (Utrecht, 2020: 3) 6. Removal of Eastern Westplein road to be replaced with Stadsstraat connecting to the Graad van Roggeweg (Utrecht, 2020: 3)

Toekomstbeeld fietsroute op de Leidseweg langs de Leidse Rijn

Figure 56: Toekomstbeeld fietsroute op de Leidseweg langs de Leidse de Leidseweg langs de Leidse Rijn A RijnToekomstbeeld (Gemeente fietsroute Utrecht,op2020)

Mosk Het sluit ad krijgt in de woon fietse gebo voor binne Lomb

Figure 57: Toekomstbeeld Kanonstraatbrug over de Leidse Rijn (GeToekomstbeeld Kanonstraatbrug over de Leidse Rijn B meente Utrecht, 2020)

Toekomstbeeld Kanonstraatbrug over de Leidse Rijn

B

Figure 58: Current map of Westplein (Author, 2021) 50

A

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Beatrix theater Figure 59: Future map of Westplein (Author, 2021) 51

The Netherlands as meeting space (metro scale analysis)

metro scale The Netherlands (country)

sub-metro scale Utrecht (city)

precinct scale Lombok (neighbourhood)

site scale Westplein (site)

Figure 60: The site through different scales (Author, 2021) 52

The Netherlands, the country in which the proposed site, Westplein, is situated, is a small country of 41,800 km2 located in Western Europe. Despite its small size, it is listed as the 5th most densely populated countries in Europe, with cities situated in close proximity to one another. The country was predominantly shaped by the estuaries of the rivers Rhine, the Meuse, and the Scheldt, and described as (2021) a place where ‘more people died in the struggle against water than in the struggle against men’ by the Greek geographer Pytheas in 325BC (Pytheas, 2021). Today however, 26% of the usable surface area is manmade territory as a result of peat extraction and land reclamation (Koopmans, 2015: 2). This surface area falls under sea level and is contained by an advanced dijk system. The small size of the country, flat surface area as a result of reclaimed territory and dense population makes connectivity between places very easy and efficient. Any place can be reached within hours with public transport, or the omnipresent mode of transport: cycling.

As a result, a lot of people in The Netherlands live in small cities and commute to appointments or work on a daily base.

The size and ease of travel in the country accommodates this interconnectedness of places (Iamexpat, 2021). The ‘city’ in the Netherlands could therefore be likened to a neighbourhood or ‘meeting spot’.

Utrecht is placed in the center of the country, connecting the different cities

Groningen Leeuwarden

Zwolle Alkmaar

Hoorn

Amsterdam Schiphol Leiden The Hague

Utrecht

Arnhem

Rotterdam Eindhoven

Figure 61: Utrecht Centraal station connection to other cities (Author, 2021)

Figure 62: Utrecht city in connection with other cities (Author, 2021)

The Netherlands 53

Utrecht as meeting place (submetro scale) Utrecht, the city in which the proposed site Westplein is situated, is a cultural hotspot and the second most populous city after Amsterdam. It is located in the very centre of the Netherlands and is therefore the most well-connected city in close proximity to all other cities in the country. Utrecht Centraal Station – located approximately 3 minutes walking distance from the proposed site, Westplein – is the busiest station in the country

with approximately 21,000 commuters passing through it on a daily basis. The central location of the city therefore links the site to the rest of the country. However, the connectedness also implies a lot of traffic and congestion, which has resulted in the city’s numerous transformations, including the Leidseveer construction and the Hoog Catherijne constructions, that left some inhabitants unhappy.

The city is home to the Utrecht university and other tertiary institutions, including the HKU (tertiary institution for arts). These institutions attract a large number of young people who reside in Utrecht, resulting in a generally young, diverse population. Therefore, the number of young entrepreneurs, start-ups, societies and socially oriented places are omnipresent in the city. The presence of ‘young’ ideas and endeavours keeps the city liberal and therefore the context supports the exploration of contemporary ideas.

Figure 63: Utrecht before 1540 (Author, 2021)

Figure 64: Utrecht 1580 (Author, 2021)

Figure 65: Utrecht 1829, Zocherpark (Author, 2021)

Figure 66: Utrecht 1994, segments of the Singel laid dry for construction of Hoog Catherijne complex (Author, 2021)

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CENTRUM

Ideal connector between neighourhoods

Walking distance from Centraal Station

Connects Lombok to Centrum

SHapes the very tip of Lombok neighbourhood

Leidse Rhijn canal will pass through it

Amsterda

anal m Rhine C

Figure 67: Westplein spatial conditions (Author, 2021)

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Figure 68: Utrecht city map (Author, 2021) 55

Westplein (site)

Lombok neighbourhood

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Utrecht centrum (old town)

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Utrecht Centraal train Station

Lombok neighbourhood

Utrecht

Prominent meeting spots in Utrecht as a result of good urban space The city of Utrecht has a wide diversity of meeting spaces. The city has a good variation between manmade and natural inner-city spaces which accommodates a wide range of activity and people. This includes a number public facilities, green spaces and parks, plazas, entertainment venues, in-between spaces, inner-city activities, spaces next to water and more.

The compactness of the built fabric makes for small distances between places, resulting in a lot of people moving at foot level. This allows a lot of chance encounters and informal meetings to take place in the city.

Small distances are further enhanced with the ‘human scale’ of buildings in the city - accommodating informal meetings and activities to take place in-between buildings.

According to Danish architect and urban design consultant Jan Gehl, the perfect street

Figure 69: A perfect street scene (Author, 2021)

scene consists of activity at foot level. This is dependent on a number of conditions including physical context and outdoor activities to succeed.

Urbanist thinker Jane Jacobs argues that successful streets are short, pedestrian oriented, and attract activity at different times of day. This is achieved by small scale, compact buildings, that have more than a single function.

A prerequisite to design such spaces is to understand the range at which humans senses work. Movement, at pedestrian level, is limited to a horisontal motion with a speed of approximately 5 km/h. Senses are adapted to this condition. Therefore, events need to take Music/theater venues EG. Tivoli Vredenburg

Public facilities/ institutions EG. Utrecht Centraal train station

Green areas & parks EG. Zocher park (Singel Exterior plazas/pleine EG. Jaarbeursplein

Figure 70: Utrecht meeting space collage (Author, 2021) 56

Informal areas inbetween buildings

Figure 71: Graaf Floris cafe restaurant Utrecht (TasfotoNL, 2016)

place in front of the viewer. Sight is limited to 1km, with distance playing a big role in the detail perceived at each distance.

It is important to analyze the social structures shaped by built systems. Public and private movements systems; public structures and commercial activities shape behavior patterns, and the understanding and integration thereof in the design process is of importance to enhance social activity. Social events evolve spontaneously, it is the situations that allow it to occur (Gehl, 1936).

Inner-city activities including shops, cafe’s and restaurants

Figure 72: Sensory awareness of pedestrian (Author, 2021)

Domtower = icon, everything around it is meeting space Areas next to water

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Utrecht

Social space in Utrecht Social space is highly concentrated in the city centrum. This is due to the mixed-use of space, and the compact architecture of row house typology.

Natural space in Utrecht Natural space in the city is predominately surrounding water lines. The main water line on the left is the Amsterdam Rhine Canal. The Merwede and Leidse Rhine canals connects to it. The Singelgracht (canal around city centrum) defines the inner city shape and is an attractor of leisure activity. Parks and natural areas surrounds water.

Spatial use in Utrecht Mixed-use spaces are concentrated in the centrum of Utrecht and along prominent pedestrian zones. Large office buildings are predominantly located surrounding the Central station. Residential units that don’t house other activity, is predominantly located further away from the city centrum.

Traffic in Utrecht The Utrecht Centraal train station is the main connector of all traffic in the city, and in the country. The area suffers from high vehicle traffic and continually has to undergo renovation to lessen congestion.

Figure 73: Spatial condition in Utrecht (Author, 2021) 58

train route to Zwolle

Griftpark

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Figure 74: Composite constraints and informants map Utrecht (Author, 2021) 59

Utrecht

Within the city, a number of important neighbourhoods/places surround the site, all playing an important role in relation to Westplein:

Utrecht Centraal Station & Hoog Catherijne Complex Utrecht Centraal Station & Hoog Catherijne complex is located to the east of the proposed site, with a lot of people from Lombok passing by Westplein on a daily basis to reach the station and return. Utrecht Centraal Station is the busiest train station in the country due to the city’s location in the centre of the Netherlands, with approximately 21,000 commuters passing through per day (Utrechtcentral, 2018). The Hoog Catherijne complex is a large indoor shopping centre which extends from the station plaza into the Vredenburgplein (city centrum) and was constructed in the 1970s with the intention of turning the city into a shopping ‘hotspot’ as a means to expand the centre of Utrecht.

However, the construction was of immense size in comparison to the rest of the centre’s architecture, and a design that was considered ‘timeless’ at the time of construction, soon became outdated with a need for renovation (Buiter, 1993: 97).

Figure 75: Aerial view of buildings, Utrecht, the Netherlands (Bodi, 2020)

Figure 76: Utrecht, Oudegracht - Utrecht in lockdown (Bos, 2020) 60

Sin

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Kop v Lombok Westplein Ulu mosque

Park Plaza Hotel

residential block

Hoog Catherijne

Lombok neighbourhood

elevated train rails

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NH Hotel Utrecht Centraal Station

Jaarbeursplein

Beatrix theater

Figure 77: Forces and energies in utrecht Centre (Author, 2021) 61

Lombok

The city centre of Utrecht The city centre of Utrecht is located approximately 15 minutes walking distance east of the proposed site, Westplein. The centre features buildings and structures which date back to the Middle Ages. These structures host a wide variety of multiuse shops, restaurants and activities – a great attractor for all ages at all times of the day and season. Enveloping the centre is the Singelgracht and a few remains of the defence fortress which was destroyed in the early 1800s preceding the development of the Zocher botanical garden route which replaced it. The segment of the Singelgracht running underneath the Hoog Catherijne complex was dried up for the construction, and only restored to its original state in the year 2020.

Figure 78: Utrecht Centraal Station (Unknown, 2019)

The Jaarbeursplein The Jaarbeursplein, situated in-between the proposed site and Utrecht Centraal train station, was opened in 1969 on the former site of the Van Sypesteyn barracks. In the beginning the plein used to be a departure point for busses towards Utrecht West , but was restored in the 1990s with the opening of the Beatrix theatre building on its southern side as a social spot for outdoor exercising and skating. A few long-distance busses still depart from here, but the plaza’s social atmosphere is becoming increasingly dominant, especially a growing skate culture that enjoys the space even during cold winter periods.

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Figure 79: Photograph of Jaarbeursplein (Author, 2021)

Figure 80: Photograph of busstop on Jaarbeursplein (Author, 2021)

Sin

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Kop v Lombok Westplein Ulu mosque

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Jaarbeursplein

Beatrix theater

Figure 81: Forces and energies in Utrecht Centraal Station (Author, 2021) 63

Lombok

Utrecht Leidse Rijn canal Utrecht Leidse Rijn is a canal which runs from the Amsterdam Rhine Canal and used to connect to the Singelgracht at the Catherijne intersection. Its original construction was around 1122 when the Old Rhine canal was silted up and was the original connector between Utrecht and the small town De Meern, ending at Harmelen. At Harmelen it connects to the Old Rhine and eventually flows into the North Sea at Katwijk aan Zee. The segment just before the site, towards Singelgracht, was laid dry in segments during the construction of large vehicle routes and buildings dating around 1929. However, as part of the masterplan of Lombok, the municipality of Utrecht plans to restore the canal to its original state – reconnecting it to the Singelgracht in 2024. The canal is a popular attractor for recreation and social interaction in Lombok.

wood drying sheds, used to be an industrial sawmill workshop. The complex is currently open for public use as a restaurant, pop-up venue , meeting centre and other events. The mill can be seen turning every Saturday. This spot is a great attraction for people across the city and country.

Figure 82: Molen de Ster (Molen de Ster, 2019)

Molen de Ster Molen de Ster is one of only three completely preserved sawmill yards located on the Leidse Rhijn canal. The yard, consisting of a windmill with sawmill, two servants’ houses and three

Figure 83: Photograph of Leidse Rhijn canal (Author, 2021)

Molen de Ster

Figure 84: Elevation of Leidse Rhijn canal (Author, 2021) 64

Leidse Rhijn Canal

Sin

Utrecht Centre

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Kop v Lombok Westplein Ulu mosque

Park Plaza Hotel

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Hoog Catherijne

Lombok neighbourhood

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Figure 85: Forces and energies in Leidse Rhijn canal (Author, 2021)

Jaarbeursplein

Westplein (site)

Ulu Mosque

Damstraat

Beatrix theater

Lombok 65

Leidse Rhijn Canal

Lombok, neighbourhood as meeting place The neighbourhood Lombok is located east from the site, Westplein. It is a neighbourhood in Utrecht-West known before as “the fields outside of Catharijne”, and was constructed in different stages between 1886 – 1920 to create accommodation for migrant workers from Morrocco and Turkey. Initially, before the construction of the residential units in 1886, only a few industrial buildings existed.

These included factories such as the Jaffa machine factory and Douwe Egberts and a few mills, as well as the Werkspoor factories which later formed the beating heart of the multicultural neighbourhood. The name of the neighbourhood, Lombok, as well as the street names and sub-neighbourhoods were named after the places of origin of migrant workers and related Vereenigde Oostindische Compagnie travels. The names are indicative of the multicultural nature of the area. Lombok was the first multicultural neighbourhood in Utrecht, with the majority of immigrants settling on the Kanaalstraat, which is today a great social hotspot known for its diverse shops and eateries (Utrechtcentral, 2018).

In the 1960s, a lot of migrant workers’ families and more labourers emigrated to the Netherlands and settled in Lombok, but due to the closing of factories as a result of recession, a lot of people lost their jobs. This resulted in a spiral of economic and social decay leaving the area deprived and impoverised . To 66

Figure 86: Kanaalstraat, The power of multicultural community engagement (Couperus, 2017)

counter this spiral of decay, the municipality of Utrecht employed a gentrification process by lowering housing prices which attracted young Dutch families and students to the neighbourhood. This resulted in a mixture of the original immigrants and their families, and young Dutch students and families. This social mix of residents has resulted in a very unique situation today: great cohesion between certain population groups, but also great polarisation. Existing inhabitants generally fear gentrification since they have established a unique culture in this neighbourhood and fear rejection and removal. On the other hand, young Dutch people moving in do not all appreciate the ‘chaotic’ multicultural value of the area (Utrechtcentral, 2018).

As a result of polarisation, the area has seen some social inequity resulting in criminal activity, drug dealing and a few shooting incidents. All residents wish to counteract this newly developed criminalisation, but wish to do so avoiding another gentrification

Sin

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Kop v Lombok Westplein Ulu mosque

Park Plaza Hotel

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Lombok neighbourhood

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NH Hotel Utrecht Centraal Station

Figure 87: Forces and energies in Lombok (Author, 2021)

Jaarbeursplein

Beatrix theater

Figure 88: History of Lombok (Author, 2021) 67

Lombok

process. To overcome this, the municipality of Utrecht has established a social platform called ‘Stichting Perron West’ which aims to reconnect people in discussing urban issues and resolving them together. A few general discussions have concluded in a general wish for: more diverse retail shops; more locally oriented shops in support of local entrepreneurs; cleaner terraces; more terraces; meeting places; better spaces for guidance; public enforcement; making Kanaalstraat a one-way; more space for bicycles, pedestrians and public transport and less for vehicles; and a parking garage (Utrechtcentral, 2018).

Figure 91: Oude foto’s uit de Van Diemenstraat (Unkown, 1960)

Figure 89: Oude foto’s uit de Van Diemenstraat (Unkown, 1960)

Figure 92: Oude foto’s uit de Van Diemenstraat (Unkown, 1960)

Figure 90: Oude foto’s uit de Van Diemenstraat (Unkown, 1960)

Figure 93: Oude foto’s uit de Van Diemenstraat (Unkown, 1960)

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The site’s relation/position to Lombok neighbourhood and other surrounding areas

Ideal connector between neighourhoods

Walking distance from Centraal Station

Shapes the tip of Lombok

Connects Lombok to Centrum

Leidse Rijn Canal will pass through

Westplein (site)

Figure 94: Sketch of Westplein, Lombok, Utrecht (Author, 2021) 69

Lombok

The neighbourhood as meeting space Regardless the social strain as a result of gentrification, Lombok is one of the most multicultural neighbourhoods in Utrecht attracting a lot of activity and interactions.

Due to the diverse cultural heritage of people, the type of meeting spots in Lombok also differs quite radically from the rest of the city.

For example, the Kanaalstraat (and also the Dam straat) is a multicultural street with a great variety of shops and food outlets which attracts a lot of visitors. The ‘Festival Lombok’ and Culturele Zondagen also aims to celebrate diversity in the neighbourhood. A number of meeting spaces in the area are also very unique with regards to their accommodation of diversity.

Ulu Mosque The Ulu mosque is a building for Islamic religion located on the Moskeeplein that opened in 2015. it hosts a prayer hall and room for contemplation forpeople from any denomination. The inclusion of this room makes the Ulu mosque unique to the world. This room was included based on the multicultural background of residents in Lombok. The mosque hosts a number of events each year incuding the Kermes, the Ramadan, and prayer events during festival days.

Figure 95: Sketch of Ulu mosque (Author, 2021) 70

l ge Sin

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Kop v Lombok Westplein Ulu mosque

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Park Plaza Hotel

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Figure 96: Lombok map Beatrix (Author, 2021) theater

Figure 97:

Damstraat Elevation, looking west towards Lombok neighbourhood (Author, 2021)

Figure 98: Kanaalstraat elevation, looking south.

This street is the heart of Lombok neighbourhood. (Author, 2021)

Lombok 71

The street as meeting space l ge Sin

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Kop v Lombok Westplein Ulu mosque

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Figure 99: Lombok map (Author, 2021) Jaarbeursplein Beatrix theater

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Utrecht Centre

Figure 100:

Damstraat Elevation, looking east towards Lombok neighbourhood (Author, 2021)

Figure 101:

Kanaalstraat elevation, looking north onto site and Ulu mosque (Author, 2021)

Lombok 73

The site as potential connector l ge Sin

Vleuten

seweg

Utrecht Centre

Kop v Lombok Westplein Ulu mosque

Ideal connector between neighourhoods

Park Plaza Hotel

residential block

Hoog Catherijne

Lombok neighbourhood

e ids

Walking distance from Centraal Station

Le

Shapes the very tip of Lombok neighbourhood

Leidse Rhijn canal will pass through it

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‘Terrain vague’ space has the potential to connect

c

NH Hotel Utrecht Centraal Station

CENTRUM Connects Lombok to Centrum

ijne

Rh

elevated train rails

l ana

Figure 102: Lombok map (Author, 2021) Jaarbeursplein

Figure 103: Elevation of Vleutenseweg, Utrecht (Author, 2021) 75

Natural space in Lombok

Singel Westplein

Natural space in Lombok is predominately surrounding the Leidse Rhijn canal. Natural areas surrounding the canal is used for recreational purposes.

Spatial use in Lombok

Leidse Rhijn Canal

Mixed-use spaces are concentrated alongside Kanaalstraat and Damstraat. The rest of the space is denoted to residential use, with the exception of Ulu mosque. Office blocks and public space is situated around the Centraal train station. The site is surrounded by a mixture of spatial use.

Traffic in Lombok The Utrecht Centraal train station is the main connector of all traffic in the city. The station is situated East from Lombok and walkable from the neighbourhood. This walking route passes by the site. The railway lines divides the neighbourhood from the city centre, but a few tunnels allows traffic to connect. A busstop is situated right next to the site.

Bus stop

Westplein

Central train station

Figure 104: Spatial conditions in Lombok, Utrecht (Author, 2021) 76

Utrecht Centre

Westplein

Ulu mosque

Park Plaza Hotel Hoog Catherijne

residen-

tial block Lombok neighbourhood

office blocks

office blocks

eR

ds

Lei

elevated train rails

l

ana

ec hijn

l ge

Kop v Lombok

Sin

office blocks

NH Hotel

office blocks Utrecht Centraal Station

Jaarbeursplein

Beatrix theater

Figure 105: Composite constraints and informants map Lombok, Utrecht (Author, 2021) 77

Lombok

Summary statement

in

78

ple

Figure 107: Site elevation (Author, 2021)

st We

This chapter discussed the physical context surrounding the site, Westplein, located in Utrecht in the Netherlands. The site is located as a perfect connector between the different cities, neighbourhoods and places described in this chapter. Due to its location in the centre of the country, as well as in the centre of the city, the site is frequently passed by thousands of commuters and as a result has been carved up by various roads and travel lines. This disconnection from its surrounding forces and energies gives it the quality previously discussed as ‘terrain vague’ space. However, the site is so centrally situated which creates an unique opportunity to connect varying existing forces and activities, with new ideas and proposals for ‘being together’.

Figure 106: Site map Westplein (Author, 2021)

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Chapter 3: Typology Study

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Chapter introduction This chapter is an investigation of the building typologies associated with this project: a citylab as social incubator and its respective architecture typologies. The choice of typology is a follow through from the first- and second chapters. The study will begin by expanding on the role of a citylab and explore a number of examples in the Netherlands. Then, the chapter will define the role of a social incubator and focus on a number of examples based in South Africa, and the Netherlands. Finally, due to the nature of the project as a public social platform, this chapter will unpack the definition of ‘inhabitants and guests’ with examples of ‘inhabitants and guests’ used for this project and their role in creating an interconnected system as ‘local resource’ to establish new dynamic circular processes on a ‘forgotten’ landscape, namely Westplein in Utrecht in the Netherlands.

urban issues and communal concerns with one another. Furthermore, there is no place in Lombok where the work-recreation environment is a single public space. Due to the advanced use of digital space, the need for such physical urban environments is increased. Westplein, due to its ideal location as potential connector, is the ideal location to reactivate and test new ideas.

A citylab is a place where local residents, societies, clubs, entrepreneurs, and start-ups connect with one another, experts, and urban thinkers to share scalable solutions for the city’s most critical issues. It is a place that is co-created by its users and is therefore in constant flux based on the changing needs in time. Utrecht based citylab RAUM says that “you experience, research and participate.

In this way we shape the urban life of the future together” (RAUM, 2021). A citylab involves visitors and residents in the urban scheme, and therefore development is an act of cocreation. According to Berlin based

What is a citylab?

This treatise has investigated the site condition Terrain Vague, prevalent on Westplein, in relation to the activities and issues that surround it. The multicultural neighbourhood Lombok has a rich diversity of local societies, artists, entrepreneurs, start-ups and inhabitants of a wide variety of demography and age. However, the neighbourhood lacks a public social platform where locals can connect, collaborate and negotiate 82

Figure 108: City talks (RAUM, 2020)

architecture collective Raumlabor, locals have the knowledge of history, fears, desires, needs and deficits of their environments which is invisible to the visitor. Therefore, this method of collective negotiation and creation opens up the potential for new fields of experimentation

in creating urban environments to benefit the existing local economic, social and ecological systems. Raumlabor refers to this development strategy as “Research based design” (Raumlabor, 2018).

The potential of a citylab in the South African context

Figure 109: RAUM cafe the future is female (RAUM, 2020)

Figure 110: D.R.E.A.M. #2 pleased to meet you (RAUM, 2020)

Figure 111: De reuringsdienst (Hiensch, 2020) 83

In South Africa, the rainbow nation is a term introduced to describe the united diversity in the current context of South Africa. The built landscape, however, is not a reflection of unity.

Most cities reflect the Modernist model and reveals a great divide between rich and poor neighbourhoods due to a highly regulated urban planning regime and past urban planning schemes that divided people based on their race. Categorisation of use, and movement systems have shaped the urban landscape in favour of certain demographics, and therefore, the changeover from an Apartheid regime towards a united nation is a slow process.

Due to urban environments which still enact segregation, and the construction of structures in which its users had no input, the potential of a citylab could be very beneficial in the context of South Africa as a catalyst to address the actual issues that people face in the urban environment.

What is a social incubator?

The word ‘incubator’, according to the American Heritage (2021) dictionary of the English language, refers to ‘a place or situation that permits or encourages the formation and development, […] of new ideas’ (dictionary, 2021). According to the Merriam-Webster (2021) dictionary it is a place that aids the development of new business ventures by providing low-cost rental space, management assistance and shared facilities. Business incubators generally offer collaborative work environments, and also provide workshops, classes, guidance, and access to resources and tools for start-up entrepreneurs to grow towards independence. A social incubator is a form of business incubator, specifically aimed at incubating non-profit organisations or locally oriented societies that establish connections and partnerships within a local community.

They aim to support young social and creative entrepreneurs focused on social justice and prosperity in their society (Burke, 2018).

A social incubator is very similar to the community centre, which according to the Merriam-Webster (2021) dictionary is “a building or group of buildings for a community’s educational and recreational activities”. It is also a place where local inhabitants gather for social, cultural and recreational purposes; a place that brings people together that inspire one another; a place for community meetings and discussions, a place where non-governmental 84

activities are organized; and a local venue for entertainment (Jacobsen, 2017). Furthermore, parks are also considered as community centres, since natural landscape also attends to people’s needs, desires and aspirations. A social incubator facilitates the same activities as a community centre, however, it is more concentrated on socio-economic development through social interaction and creativity, and therefore preoccupied with meeting space as a catalyst for locally driven socio-economic and creative development.

Due to a lack of communal space, recreation space and social platforms in Lombok, a lot of local societies work independently from one another. The connection of these societies through a social platform, could stimulate interconnectivity that positively benefits the local environment. A social incubator is a catalyst for socio-economic development and therefore variable in the types of activities that it hosts. In this treatise the types of activities were determined by the needs of identified users and resulted in a hybrid typology consisting of co-work-, maker-, market, exhibition- and performance spaces, in combination with urban farming and park landscape. The description of users and their respective typologies will be further discussed in this chapter.

Figure 112: Werk_ (Loods, 2020)

Figure 113: Werk_ (Loods, 2020)

Figure 114: Werk_ (Loods, 2020) 85

The users Inhabitants versus guests The nature of the user in this treatise is not a constant factor, since the architecture intervention will not be for a specific company or use, but rather a social catalyst that enriches the community of ever-changing users. Therefore, the user group in this project can be divided into the designated ‘inhabitants’ and ‘guests’. An inhabitant, is someone who dwells in a place, he/she/they occupies a particular place regularly, routinely, or for a short period of time, as distinguished from a guest, and/or visitor, who is a recipient of hospitality at the ‘home’ of another. The guest is someone who makes use of a space and its facilities, but has no ownership of it, whereas the inhabitant lends the guest access.

For this treatise, each identified user was categorised as either an ‘inhabitant’ or a ‘guest’, based on an enquiry of who they are and what they do. Their specific architecture needs and wishes were noted.

Figure 115: Site elevation as an activated space (Author, 2021) 86

Inhabitants The following users are identified as ‘inhabitants’: Stichting Perron West, Lucrative Dumpster Dives, Pluktuin, Vaneigenstek, Birdcage Radio, Lombok Talks, Berta Sanz Garzia, Noncreatorscompany, Patsy Kroonenberg, and scenographers Sam Bachy, Vita Coenen and Thijs Veerman. These users will make routine use of the facilities in the architecture intervention. Of these , the main three ‘inhabitants’ are identified as Lucrative Dumpster Dives (LDD), Stichting Perron West and Pluktuin. These three users represent the pillar-stones of sustainable

development. Sustainable development rests on the interdependent relationship between ecological resilience, economic prosperity, and cultural/social vibrancy to succeed. Lucrative Dumpsterdives stands for cultural/social vibrancy, Perron West for economic prosperity and Pluktuin for ecological resilience, and together they have the potential to create a truly sustainable place.

Furthermore, this project does not limit its users to human beings and therefore also recognises naturally occurring wildlife species as inhabitants with special attention to their respective spatial needs and habitats.

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Guests The guests are identified users that make use of the facilities with permission from the inhabitants. Guests only stay for short periods at unregulated intervals. The following users are identified as ‘guests’: local entrepreneurs, Muslims who go to the mosque, children, people who want to spend time out of the house, commuters going to Utrecht Centraal Station.

Inhabitants Stichting Perron West (Tinka van der Kooij)

Lucrative Dumpster Dives (Angelina Kumar)

Figure 116: Stichting Perron West (Schmidt, 2019)

Figure 117: LDD workshop (Kumar, 2020)

Stichting Perron West is a collective non-profit organisation consisting of Tinka van der Kooij, Youssef, Badir, Quinty, and Ramiro, who aim to create a social, sustainable and beautiful local environment on Westplein. They provide working/meeting space for diverse, social oriented entrepreneurs and initiatives from the local neighbourhood to work, experiment and learn from one another, but currently only have a small train wagon to lend working space.

They support and facilitate local initiatives and residents and their ultimate goal is to inspire placemaking on Westplein.

Angelina Kumar, the founder of LDD, is an artist and social entrepreneur interested in sustainable/ecological problems at local scale and using art as a platform to create awareness. Lucrative Dumpster Dives is a cultural foundation she founded with the main objective of enacting circularity in the arts sector. This is achieved through art education programmes (artist-in-residency programmes), workshops with local artists, seminars, talks and exhibitions. The platform also facilitates a number of art swop shops in Utrecht, where artists and companies can drop off used art materials and swop them for other items.

Architecturally, Stichting Perron West needs office space for the six members of the organisation, co-work meeting space for the community of Lombok and commuters, private meeting rooms, an event hall for community events, storage, ablution and kitchen facilities.

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Currently, collaboration with Perron West and Pluktuin has resulted in a vision for a ‘creative playground’ on Westplein. According to Angelina (2021), the place has the potential to become a ‘beacon for an alternative way of being together’ if designed in such a way that it ‘exudes’ nature and stimulates social interaction through art (Kumar, 2021). She envisions a place which involves the local community by providing a self-sustainable creative hub fuelled by the constant activity of local artists and an inviting area where, according to TInka van der Kooij (2021), ‘people in the neighbourhood hang out, have a picnic, and want to get involved in the maintenance of the place’ (Kooij, 2021).

Architecture spatial needs include public storage facility for art materials, sorting space, drop-off space, cleaning space, meeting/ consultation/workshop rooms shared with Perron West, art studios to host workshops, makerspace to host creative programmes and sleeping pods for artist-in-residency programmes.

Figure 119: Stichting Perron West, LDD, and Pluktuin (Author, 2021) 89

Pluktuin (Yessie Brand)

Figure 118: Pluktuin (Kumar, 2021)

Pluktuin, byYessie Brand, is the personal initiative of local resident Yessie Brand and involves the process of planting edible garden produce in a communal garden which other locals can help maintain and enjoy the produce upon harvesting. It is a means of securing food for a local community, and stimulating a greater biodiversity in an urban context. Yessie would need interior and exterior gardening space with storage space for garden tools, as well as a space for workshops and the processing of harvested produce.

Inhabitants Vaneigenstek

Birdcage Radio Birdcage radio needs streamhouse space with comfy furniture and streaming tech/ computers that can be locked away. What if the space could open up to become DJ booth?

We sell stekkies and need a space to garden, pot our plants and sell our produce

Vaneigenstek is a local ‘edible’ nursery in Utrecht which propagates edible plants, shrubs and trees, predominantly perennials, that they sell to the local public. Their aim is to create food security in a small local context and to create a greater biodiversity in the built context of Utrecht. They would need a space to plant and sell their shrubs as well as storage space for utilities.

Birdcage radio is a small collective of local DJ’s in Utrecht who broadcast recordings on online platforms Twitch, Discord and Soundcloud. According to Nicholas van Dedem, the collective consists of a group of friends and has no formal broadcasting venue. Architecturally, they would need a safe space for expensive computer equipment and broadcasting tools, a couch for friends and interviewees and a DJ booth which can be viewed by the public to host parties.

Figure 120: Vaneigenstek garden (Instagram, 2021)

Figure 121: Birdcage radio (Instagram, 2021)

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Lombok Talks

We are a local podcast initiative that needs recording facilities and space to interview people

Cellist - Berta Sanz Garzia

Berta Sanz Garcia plays cello and needs rehearsal space to give lessons and rehearse with her ensembles

Lombok talks is a local podcast for the community of Lombok to discuss a variety of topics. They would need similar facilities to the Birdcage radio group and therefore share amenities.

Cellist, Berta Sanz Garzia, is a local cellist from Lombok who currently gives lessons in the Perron West train wagon. The space is limited to one on one lessons and she needs more space for ensemble rehearsals. Architecturally, Berta would need an acoustically insulated room for ensemble training and lessons, a place to perform and a storage facility for instruments.

Figure 122: Lombok Talks (Instagram, 2021)

Figure 123: Stichting Muziek in Huis - Duo Cellousy (stichtingmuziekinhuis, 2019)

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Noncreatorscompany

Actress - Patsy Kroonenberg

Noncreatorscompany makes montage theater performances and needs rehearsal space, experimental makers/playspace, a stage to perform and needs to be in contact with other artists

Patsy Kroonenberg is a local actress & theatermaker and needs rehearsal space, dressing room and a space to perform outside

Noncreatorscompany is a local performance collective consisting of Max Laros and Rosita Segers. They create montage performances based on specific relevant themes of current social trends. They need rehearsal ‘play’ space and a performance space, with the ideal being a space similar to the local Theater Kikker in Utrecht. Furthermore, because their field is reliant on people, they need a space to connect with others, share ideas, and connect with a greater crowd, therefore, the wish for a collective warehouse is their ultimate dream space.

Actress, Patsy Kroonenberg, is a local actress and theatre maker. She needs a space where she can write and create with others, rehearsal space (indoor or outdoor) and a performance space. Similar to the Noncreatorscompany, with whom she collaborates on certain shows, she needs to connect with other people in order to gain opportunities, therefore, a communal space where she can meet local artists, and a wider public is of value.

Figure 124: Noncreatorscompany (Instagram, 2021)

Figure 125: Patsy Kroonenberg (Instagram, 2021)

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Scenographers - Vita Coenen, Sam Bachy and Thijs Veerman

Animals, insects, birds and plants

Figure 127: House Sparrow (ourworld-myeyes, 2018)

Local scenographers needs workspace to build wood structures and space to exhibit installations

The theatre industry in Utrecht is very popular, due to the education at the HKU university for arts, a large number of young creatives need facilities to start their creative careers. Scenography is the art of designing and making décor for theatre productions.

According to Veerman (2020), scenographers would need desk space for design purposes, dark spaces for light experiments, a meeting space and networking opportunity, a large workshop with access to tools (shared amenities with LDD), easy access to transport heavy objects or workspace next to performance location, storage space after use (shared amenities with LDD) (Veerman, 2020).

Animals, insects and birds are also identified users. The conditions of site therefore also consider the variety of species living in the area and provide a variety of natural environments to accommodate these diverse species.

Figure 126: To wither and weather (Bachy, 2021)

Figure 128: Voedertijd (Egberts, 2014)

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Birds, animals and insects shoud also have natural landscape to play, breed, eat and interact!

Guests

Local entrepreneurs

HKU students in need of work space

Draaj makes smallscale wood artworks and needs workspace with woodworking tools, exhibition space & storage Figure 130: Draaij (Instagram, 2020)

HKU creative students and young upstarts need workspace and meeting place

The HKU universityfor creative arts is based in Utrecht. A lot of young creative students and entrepreneurs use the university grounds and facilities. However, this workspace is limited to university students. Therefore, ideal would be a workspace which can provide young creatives the tools to grow in their field, and the opportunity too connect to a wider public.

Figure 129: HKU events (HKU, 2019) 94

Young entrepreneurs need space to meet/ interact and collaborate on creative projects

Local entrepreneurs who want to make use of facilities (chairs, meeting space, internet, working space) to work. They are predominantly flexible with regards to time, but mostly active and working during regular working hours. Also, the variety of spaces should allow for people to have the choice of privacy or openness. Open spaces should allow for chance encounters that could stimulate connection, whereas private spaces should do the opposite.

Figure 131: HKU students (HKU, 2021)

Local DJ

Ubuntuhuis Ubuntuhuis gives a livingroom environment, food and opportunities for people that has had to deal with homelessness

Rosco Boekhout, local DJ needs performance space and wheelchair friendly facilities

The Ubuntuhuis in Lombok Utrecht, is a small walk-in house, or neighbourhood livingroom, for people who have had to deal with social issues including homelessness, poverty, isolation, and people without a valid residence permit. The house provides a space for people to feel included in the social environment of Lombok. The current size of the house is small.

Therefore, extra space to meet, and cook a meal together would be ideal.

Rosco Boekhout is a local DJ in a wheelchair.

He is used as an example fo rthe general need for wheelchair friendly spaces in Utrecht.

THis entails the thought of pavement finishes, entrances, table top heights, and toilet facilities.

Figure 132: Ubuntuhuis Actualiteit (Ubuntuhuis, 2017)

Figure 133: Rosco Boekenhout (Instagram, 2021)

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Guests

Brommerbios

Travelling Farm museum Brommerbios is a mobile filmscreening bike for outside events.

Needs space to park bike and seating for people to watch a film.

Drinks bar nearby would be good

Travel farm museum needs space to park plant bike, host workshops, and garden events

The Travelling Farm museum is a mobile museum which drives around the neighbourhood of Lombok to explore the agricultural heritage of the area. Their aim is to cultivate knowledge and teach skills that could contribute to ecological resilient living.

They will need space to host workshops and events, and could collaborate with Pluktuin and Vaneigenstek.

Brommerbios is a mobile filmscreen. They host filmscreening events - especially during summer seasons. The mobile is easily parked outside, but it could also be nice to be able to park it inside for winter film screening sessions.

Figure 134: Travelling Farm museum (Instagram, 2021)

Figure 135: Brommerbios (Instagram, 2021)

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Hangman radio show

Culturele Zondagen Hangman radioshow collectif is a performance group, needs exterior space to build pavilions, perform, tour, and makerspace to build tech stuff

Figure 137: Duizenden mensen bij tweedaags Kadeconcert in Utrecht (Kooij, 2019)

Culturele Zondagen hosts local art events and needs performance space for multicultural events/exhibitions/talks and shows

THe Hangman Radio show is a radio-circusperformance collective run by Camille Paycha, Noortje Sanders and Thijs Veerman. The hosts take their audience on a walking journey. This journey leads them towards performance installations of light, circus performance, sound and radio broadcastings. The aim is to present new ways of storytelling. These artists will need exterior space for performance. This will need to include a collection of outdoor spaces in the landscape where the audience can meander to.

Figure 136: Hangman Radio show (Hangman Radio show, 2020) 97

Culturele Zondagen is a local cultural foundation which organises events in the city of Utrecht. The foundation collaborates with local cultural institutions and artists.

This gives local artists an opportunity, while also contributing to the cultural experience in the city. Each event is at a different location.

Westplein could be one of these locations if it has adequete outside/inside performance space.

Figure 138: De Concertzender (Culturele Zondagen, 2018)

People who go to the mosque

People that want to spend some time out of the house

After prayer sessions it would be nice to spend some time on Westplein to continue conversations

Figure 140: ROOST aan de Singel cafe with people chilling next to the water (Roost aan de Singel, 2021)

Muslims who go to the mosque for congregations, prayer or other meetings. After the congregation, there should be space for sitting, reflecting and conversing. Furthermore, a number of events are celebrated on the mosque plein every year. These include: Ramadan festival, Kermes, and prayer during festival days. These events could extend into the Westplein.

Figure 139: Ulu Camii (Facebook, 2019) 98

Since the Covid-19 pandemic, a lot of people work remotely. However, houses in The Nethelrands are generally quite small, therefore the need to take a break outside and being aorund other people is more important than before. An exterior space which allows for people to sit, walk and meet in nature would be of benefit in the context of Lombok, Utrecht which has a limited amount of parks and natural recreational areas.

Figure 141: Oranjezicht City Farmer’s Market at the V & A (Oranjezicht, 2021)

Children

Older people Children in the neighbourhood needs a place to play

Old people in the neighbourhood need a place where they can drink a coffee, read, meet others, rest, walk and relax

The average house in Utrecht is small and only a few of them have gardens. These gardens are in general rather small due to the compact living conditions present in the city - especially Lombok, Utrecht. Therefore, a lot of children play outside on the street. There are too little places in Lombok where kids can go play.

Furthermore, with the increase of people working at home, there is also a need for spaces where parents can work, while their children can play.

Even thought the average population of Utrecht is generally young, there are also a number of old people that enjoy the city.

However, there are few places in Lombok, Utrecht which has comfortable spots where old people can meet, play games, or just relax.

This need could be fulfilled with a space which is accommodating to old people. Thwis could include a space with comfortable seating, and entertainment such as reading, games and exercise spots.

Figure 142: Koningsdag 2021 outside the Ulu Camii mosque (Ulu Camii, 2021)

Figure 143: Two poor old men playing chess in the park (Sokolean, 2008)

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A platform for collaboration Each user was specifically chosen due to his/ her/they impact and creative contribution to the local environment of Lombok in Utrecht.

The activities of each user are understood for their potential to link to other activities in a ‘shared community’. The idea is that the ‘waste’ or outcome of each activity becomes the fuel for the next, and so forth. For this social system to succeed the proposed programme for this project was chosen in respect to the needs of identified users. The following typologies were identified: Coworking space, makerspace, multiuse performance centre, urban farming/greenhouse, and a temporary art pavilion. Each typology will be defined, and supported by an existing example.

The intention of these typologies is to merge working space for freelancers or flexible working entrepreneurs with the workspace of creators. The multiuse performance centre is the display area for the makerspace: the place that artists can use as a public platform to connect with the local public. The greenhouse produce is intended to be sold in the café/ market area, therefore generating economic value for local residents while contributing to greater biodiversity. Finally, the art pavilion is a means of inspiring awareness of circularity in the arts sector, and simultaneously an opportunity for local artists.

Figure 144: The 3 users compared to the sustainable development triad (Author, 2021) 100

Figure 145: NOAHH’s proposal for Berlijnplein (NOAHH, 2020) 101

recycle art rest materials @LDD artwork is dissassembled and material recovered

LDD facilitates workshops to teach circularity in

artwork evokes public participation & awareness

artists make use of rest material

person working in isolation

Figure 147: LDD flow of activities (Author, 2021)

offcuts are composted and added to soil

pluktuin and volunteers plants

new collaborations stimulate community and participation

plants benefit the environment and beautifies the city

sown produce is sold at local market area

crop is sown

Figure 149: Pluktuin flow of activities (Author, 2021)

Figure 146: The 3 users compared to the sustainable development triad (Author, 2021) 102

person goes to work in 3rd space environment surrounded by people

chance encounters allows new connections

Figure 148: Stichting Perron West flow of activities (Author, 2021)

Figure 150: Typolology suggestion based on the activity flows of 3 users (Author, 2021) 103

RAUM RAUM is a creative citylab on the Berlijnplain Square, Leidse Rhijn, Utrecht. It is an example for this treatise due to its nature as a citylab that uses the concept of placemaking as a tool to connect local resources and address urban issues as a collective activity. The link between art and its connection to the wider public is of vital importance in the process of communication at RAUM. It originated in 2016 during a placemaking process consisting of cultural organisations, residents and entrepreneurs, and has since developed into a cultural destination where art and design strategically shape the programme. Cocreation is the foundation of the development of this place, meaning that the visitors and residents are involved in the urban scheme (RAUM, 2021). It is a good precedent for this project, due to the integrated making- and co-creative process used to make a positive urban environment for its locality.

Placemaking tools/events at RAUM (2021) include city talks, gardening, think meetings, night walks, construction festivals, creative evenings, mobile stages (pop-up), city circus, magazine, articles, podcasts, talk shows, neighbourhood drinks, summerplay events, documentary making, summer parties, youth spots, workshops, festivals, exhibitions, camping, dance events, café talks and more (RAUM, 2021). The main institutions at RAUM are the Makershuis, the Wijksrestaurant and a large outdoor area. The Makershuis is a 104

makerspace for the creative collective Good Friday. The building is completely mobile and modular, made of sustainable materials, and has a roof garden. Inside, the space is used by artists to create public artworks with the availability of tools and social connections.

Since 2020, the local society, The Plaatsmaker, has been organising space for artists, and cultural institutions including Het NUT (Nieuwe Utrecht’s Toneel), Buurtwerkkamer ‘Hart voor Leidse Rijn’, and urban consultancy ‘Jonge Honden’ to interact and inspire local residents and development (RAUM, 2021).

local residents

Figure 151: NOAHH’s proposal for activity flow at Berlijnplein (NOAHH, 2021)

Figure 152: RAUM Pop-up (RAUM, 2020) Figure 155: Gewildgroei: Tijd is alles (RAUM, 2020)

Figure 153: TERUGBLIK: Talkshow het hert (RAUM, 2020)

Figure 156: RAUM diner (RAUM, 2020)

Figure 154: Zomerse opening Summerplay (RAUM, 2020) 105

Figure 157: Memory Dance (RAUM, 2020)

Coworking space/business incubator A business incubator is an organisation which helps young entrepreneurs and start-ups develop a successful business by providing resources, information, assistance and connections to help them develop a successful business. Social incubator is a form of business incubator, but more focused on social and civil issues. A social incubator’s main objective is to integrate civic community and promote employment growth, predominantly at local- and small scale or non-profit organisations. Architecturally, an incubator, or co-work space, is a neutral/informal workspace where people from different companies can use the amenities without the time restrictions of a formal office. It is a space that stimulates interaction and productivity.

In most cases, incubators are run by a company that assists entrepreneurs in their careers, which is present in the form of workshops, lectures and classes. Incubators are useful to the economy, since they provide access to workspace, tools and information, as well as stimulating social interaction that boosts the development of start-ups and entrepreneurs, which in turn creates employment and diminishes social issues . For example: poverty, criminality, and drug issues as a result of being unemployed.

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The Watershed The Watershed is a market and business incubator in Cape Town in South Africa. It is a good example for this thesis with regards to the interconnection of ‘street’ environment with merchants and freelancers to create economic opportunity. The complex consists of market space, an exhibition venue, rentable office spaces, and green space.

All the activities are situated along a long internal corridor, which in turn connects to the surrounding urban network. The key success of this incubator lies in its accessibility and the visibility of its structure. The market area, or ‘street’, is open on both sides and therefore inviting to the public to walk through and support local entrepreneurs. The visibility which is achieved both horizontally, and vertically, also contributes to the stimulation of social interaction, and therefore opportunity for local entrepreneurs (Wollf, 2014).

Figure 158: Wolff Architect’s floorplan of the Watershed - interior street (Author, 2021)

Figure 160: Entry from the city (Wolff, 2014)

Figure 161: Interior ‘street’ flow (Wolff, 2014)

Figure 159: Wolff Architects’ the Watershed, vertical interaction (Author, 2021) 107

Figure 162: First floor coworking space (Wolff, 2014)

De Ceuvel De Ceuvel is a sustainable workspace for creative and social entrepreneurs, designed

by Studio Valkenier, on the former shipyard on Johan van Hasselt Kanaal just off the IJ. It is a good precedent for this project due to the success of social and sustainable development on a derelict piece of land by employing principles to stimulate social impact and circular design. The success of the project lies in the collaboration and cocreation process of users, and the communal aim to clean polluted soil in the landscape through circular design strategies (Ceuvel, 2021).

It is the first circular office park in Amsterdam, home to a community of entrepreneurs and artists who co-created the place out of derelict houseboats. The houseboats were upcycled and transformed into creative work studios, rental spaces, culture venue and a sustainable café enjoyed by entrepreneurs and visitors. Before transformation, the boats polluted the soil of the De Ceuvel plot, but implementation of clean energies, including compost toilets, heat pumps, helophyte filters, phytoremediation, solar panels, upcycling and an aquaponics greenhouse, have turned this intervention into a “playground for clean technology” (Ceuvel, 2021).

Figure 163: De Ceuvel: A cleantech playground (Metabolic, 2014)

Figure 164: Cafe de Ceuvel (Deceuvel, 2014)

Figure 165: De boten, De Ceuvel (Deceuvel, 2014) 108

Figure 166: Sustainability at De Ceuvel (Deceuvel, 2014) 109

Makerspace/social incubator

Werk_

A makerspace is a collaborative workshop which supplies equipment and technology, such as printers, 3D printers, soldering tools, industrial machines and more, for creative projects. Similar to the business incubator, a makerspace also provides amenities and low-overhead workspace for young designers to start off their careers. It is a meeting place which aims to stimulate cocreation and community in the arts sector by facilitating the space.

Werk_ is a design and build incubator located in the Baakens Valley in Port Elizabeth in South Africa. It is a good example for this project due to the role of social/creative placemaking that catalyses social, economic and ecological development through local creative innovation and connection. At Werk_, construction is a continuous process adapting to the changing needs of users. The process relies on the skills of its users to achieve this, therefore, the activation of human capital (Theron, 2021). It is a social platform which hosts a wide variety of ever-changing activities aimed at improving community through local innovation and design. At Werk_, inventive individuals, artists, craftsmen and entrepreneurs have access and tools to create and collaborate, whose efforts in turn make a positive impact on the local community. An important aspect of creative stimulation is that the process is on display to the wider community (Werk_, 2020).

The building that hosts Werk_ used to be an industrial factory. The derelict remnants of the factory were transformed into a creative hub of which the construction is a constant process, changed by its users. The interior currently consists of a cluster of restaurants, rental offices and atelier spaces, woodwork workshop, workshop areas, climbing wall and festival ground. It hosts a number of activities including the Foodtruck Market, local events and exhibitions, concerts and has even extended to outdoor activities facilitated by Awehness Travel initiative.

A makerspace is generally a large workshop area, facilitated with tools and machinery specific to the creative industry it hosts.

Creative spaces stimulate to the local environment, and expresses the zeitgeist.

Makerspaces provide a space for local artists to connect and therefore the impact of collaboration provides the opportunity to shape and inspire local identity and pride.

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Figure 167: Before @Werk_, Port Elizabeth (Loods, 2021)

Figure 168: In-between @Werk_, Port Elizabeth (Loods, 2021)

Figure 169: Today @Werk_, Port Elizabeth (Loods, 2021) 111

Figure 170: Floorplan of Werk_ showing horisontal flow vs office typology (Author, 2021)

Multiuse performance centre A multiuse performance centre is a performance space specially intended to host the performance of a variety of types of artforms ranging from music, dance, theatre and art exhibitions to other experimental forms of art. It can also refer to a cluster of performance spaces, but that is unrelated to the nature of building described for this project. Multiuse performance centres have a long history with examples such as the Colosseum and Greek amphitheatres being the first examples, even predating monofunctional performance space. Every artform needs a different architectural consideration to bring out the best qualities of the art, for example music venues need specific acoustic measures, whereas dance halls need special flooring for dancers. For a multiuse performance centre, the hall needs to either support all these artforms with a generalised specification that fits all artforms at once, or be adaptive in nature in order to change in respect to the specific artform it hosts.

Sexyland Sexyland is a cultural clubhouse or performance space in Amsterdam in the Netherlands. It is a ‘free’ space with shared ownership and therefore a good example for this treatise. At Sexyland, artists and creatives can use and organise the space how they want by ‘being the owner for a day’. An artist ‘rents’ the space for a day to host an event. The 112

Figure 171: Multiuse stage possibilities (Author, 2021)

intention of the space is that it is a stage for everyone. It serves as a place for the sharing of new ideas and stimulating social interaction between makers and a local audience (Sexyland, 2021).

The full programme at Sexyland includes: installations, theatre and performance art, exhibitions, nightclub, community centre, activities for children, a cinema, restrooms, meeting spaces, workshops and radio studios. The diversity of the programme is further extended due to the diverse activities organised by the users. Sexyland is therefore constantly pushing the boundaries of art, which in turn, shapes culture and local identity (Sexyland, 2021).

Figure 174: Stuntman Uncle Jefferson at Sexyland world, Amsterdam (Instagram, 2020)

Figure 172: Sexyland world logo, Amsterdam (Sexyland world, 2021)

Figure 173: Firebird performance at Sexyland world, Amsterdam (Instagram, 2020) 113

Figure 175: United west stream at Sexyland world, Amsterdam (Instagram, 2020)

Urban farming/greenhouse Urban farming is the practice of cultivating, processing and distributing food in urban areas. It is usually run by communities that seek to improve community relationships by creating an awareness of agriculture and providing food security within a small area. Architecturally, urban farming is a food garden cultivated on common land or allotment gardens. It can also be in the form of roof gardens, which allow urban dwellers to maintain greenspace without having to set aside a tract of undeveloped land.

Urban farming can reflect varying levels of social and economic development. For example, a social movement for sustainable development where organic growers share an ethos of nature and community holism.

Urban gardens facilitate social interaction and contribute to a symbolic focus which results in increased community pride. It is also a source of food security on a small scale which reduces food cost and transport expenses.

the farm is part of SA Urban food and farming which aims to engage with locals and children to plant and nurture the garden. Produce is sold at a market during weekends which further aims to stimulate social interaction and community involvement (Oranjezicht, 2021).

Figure 176: Oranjezicht City Farm (Alamy, 2018)

Oranjezicht urban farm Oranjezicht urban farm is an urban farm and market project in Cape Town in South Africa. It is a good example for this treatise on how to strengthen community through food production and farming. Oranjezicht grew out of the original urban farm established in 1709.

This farm produced fruit and vegetables for passing sailors on the VOC spice route. Today, 114

Figure 177: Gardening at the Oranjzicht City Farm (Oranjezicht, 2019)

Market/café

De Markthal

A marketplace is an open area or square within an urban area where vendors come together to sell their products or services to the local public. Generally, markets are temporary in nature, predominantly scheduled, but certain established markets are open on a daily basis. Architecturally, a marketplace is a designated open area with allocated plots for individual vendors to set up their stalls.

It can be informal: temporary vendors set up in a street or square without any formal architecture intervention; or formal: open area with architecture intervention in the form of overhead protection from climate and access to water and electricity.

De Markthal is a fresh food market in Rotterdam in the Netherlands. It is a good example of a new type of market space, creatively mixed with residential units. The building, is a horizontal arch, open on both sides for the public. It creates an ‘insideoutside’ market experience which connects to surrounding public spaces and urban centres, yet protects from harsh climate conditions.

The iconic structure is decorated on the inside with brightly coloured artworks which reflect the vibrancy of the activities it hosts (Markthal, 2021).

The role of a marketplace is to give vendors a place to gain visibility and sell their products, and for local clients to have access to local produce. Markets benefit the local economy as they provide the opportunity for small scale entrepreneurs to be in contact with a clientele and therefore stimulate the local economy which in turn has positive social and ecological repercussions.

Figure 178: Oranjezicht City Farmer’s Market at the V & A (Oranjezicht, 2021) 115

Figure 179: Markthal Rotterdam (Preneurl, 2008)

Summary Statement The typological investigation has revealed important insights informing the design. The role of a citylab is understood as social space where local inhabitants can connect and share their thoughts towards addressing local urban and social issues. A social incubator on the other hand, is a social platform which lends out the space and facility for entrepreneurs concerned with local socially-driven economic endeavours. In combination, these platforms create a unique environment for local

Figure 180: Site elevation as an activated space (Author, 2021) 116

residents, entrepreneurs and creatives to address current issues through the process of cocreation, whilst stimulating socio-economic development.

The architectural needs of the identified ‘inhabitants and guests’ concluded with the need for coworking space, makerspace, marketspace, multiuse performance space and urban farming space. Each is host to an ecosystem of activity, functioning within a system where the inputs or outputs of one activity, become ingredients for the next.

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Chapter 4: Principle Explorations

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Chapter Introduction This chapter is an investigation of the architectural principles as a response to the issues discussed in chapters 1, 2 and 3. The main principles that will be discussed in this chapter include: the building as ‘playground’; ‘follies in the veld’, ‘temporary = permanent’, ‘design-for-disassembly’ and ‘the building as a park’. Then, the chapter will focus on the material investigations, with a particular focus on recyclable- and bio-based materials.

The chapter will conclude with a study of services with examples of ‘off-the-grid’ design strategies.

The examples will be related to the specific issues related to the project, and will serve to inform the design process.

which is used for recreational purposes. It is usually a variety of structures, situated in an open-air area, to stimulate different types of play activities. The variety of objects enacts different types of scenarios to be discovered and thus challenge social and emotional development in children. This project suggests that one is never too old to play, and suggests that architecture is to adults what the playground is to children. Therefore, the suggested architectural intervention proposed is to create a ‘playground’ landscape. This entails the design of a number of loose-fit ‘follies in the veld’, each representing and accommodating a different activity(ies). The variety of structures creates the right conditions for different forms of chance encounters and social interaction to occur, which in turn stimulate new types of relationships and collaboration.

The building as a ‘playground’ This project explored how digital advancement has changed the notions of working and living.

This has altered the ways in which we work, interact, and live to become more mobile and self-directed. ‘The home has become less home, and the office type has vanished.

Instead, the work space has changed into a playground where connections are made and interaction is fostered’ (Knoll, 2020).

This project therefore likens the architecture intervention to a playground.

A playground, as described by the MerriamWebster dictionary (2021) is an outdoor area 120

Figure 181: Representational drawing by Yona Friedman (Friedman, 1960)

Figure 182: The building is likened to a playground (Author, 2021) 121

An approach to ‘terrain vague’ space through playgrounds: Constant Nieuwenhuys Dutch architect and visual artist, Constant Nieuwenhuys, proposed a capitalist free society called the New Babylon. Inhabitants of New Babylon, referred to as Homo Ludens (Homo Ludens is a reference to Johan Huizinga’s ‘Man at Play’), would first demand the ‘need for playing, for adventure, for mobility, as well as all the conditions that facilitate the free creation of his surroundings’ (Nieuwenhuys, 1960: 2).

The proposed architecture in this project therefore links freedom to creativity and mobility with a series of transformable, interlinked ‘activity spaces’ connected by a megastructure. These spaces are positioned on a multi-level layout raised off the ground by a series of pilotis. This permits an uninterrupted sequence of terraced roofscapes which creates a new artificial landscape above the natural one. The idea of the structure is to permit mobility and opportunity where ‘everything must remain possible’ (Nieuwenhuys, 1960: 3).

This thesis project suggests that digitalisation has altered our lives to such a degree that we have become synonymous with the Homo Ludens. Therefore, the suggested architecture needs to allow for freedom, adventure and mobility.

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Figure 183: Constant Nieuwenhuy’s New Babylon highlighting flow between spaces (Author, 2021)

Figure 184: Representation sketch of New Babylon (Nieuwenhuys, 1970) 123

Aldo van Eyck Aldo van Eyck’s playgrounds likened the city to a playground. His playgrounds in the Netherlands were a spatial experiment which represent the most important shift of architecture intervention: from a topdown approach towards a bottom-up infill of ‘terrain vague’ spaces. The playgrounds were an opportunity for Van Eyck to test architectural ideas, including ‘relativity and imagination’ (Demerijn, 2013: 3). Relativity regarding the connections between elements

Figure 185: Playground at Laurierstraat, Amsterdam (Van Eyck, 1965)

and their mutual relationships. All elements were designed in a minimalist manner with the intention of stimulating the minds of users (children). For example, a hemispherical climbing bar could also be a lookout post, or covered with cloth to be a tent. More of these structures included tumbling bars, sandpits, stepping stones, chutes and jungle gyms.

These elements had a modular character to them which could always be recombined in different contexts.

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Figure 186: The playgrounds and the city (Van Eyck, 1965)

This thesis project is informed by Van Eyck’s simplicity of form to stimulate interaction and creativity. These examples show that reactivating space does not entail high-end objects, but structures which people can interact and play with.

Isamu Noguchi Isamu Noguchi sees the playground as a landscape. He designed play equipment which were a fusion of sculpting Earth and interactive play. Noguchi sees the ground as an embodiment of the spirit of creativity. This treatise is inspired by the potential of shaping land as a second response to treating ‘terrain vague’ space. The approach is different to that of Van Eyck, but a combined effect between the two principles could have an interesting outcome.

Kuno Kaneko Figure 187: In search of contoured playgrounds (Noguchi, 1941)

Figure 188: Teppozu playground, Tokyo: mound (Kaneko, 1935)

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The Teppozu playground, in Tokyo by Japanese landscape designer Kuno Kaneko is a good example of a moulded landscape as playground.

Follies in the veld ‘Follies in the veld’ denotes the placement of loose objects in an urban field as a response to existing field conditions surrounding the site.

This making method is a follow through of the understanding of field conditions, a concept introduced by architect Stan Allen. The field theory prioritises energies and relationships experienced in a space (field). Form and objects derived from field conditions constitute the unit of material and immaterial forces.

Figure 190: SANAA Architectect’s Rolex Centre, plan (Author, 2021)

In the context of Utrecht, the normative method of urbanisation is to create street facades shaping the street. However, this traditional method is restrictive in terms of activating ‘terrain vague’ space. ‘Terrain vague’ space, due to the absence of use and category, carries a sense of mobility, freedom and liberty. The likening of the architecture to a ‘playground’ implies a shift away from the normative approach towards a new way.

This new way of making is informed by what already exists in order to generate form. This project will explore the understanding of field theory to achieve a spatial production informed by its surrounding energies and forces.

Temporary = permanent Temporary = permanent is a design strategy as an alternative use for ‘terrain vague’ space reactivation. The strategy entails the activation of a space through the implementation of Figure 189: SANAA Architectect’s Rolex Centre, exploded axo (Author, 2021) 126

‘temporary uses’ including pop-up stages, public art, or installation (housing, 2014).

The site becomes temporarily activated in a manner similar to a music festival. The initial ‘temporary’ activity attracts people to the site, which then results in eventual ‘permanent’ use.

Attracting people could be an event, activity or object that draws attention. These spaces could be seating space, eating space, exercise space or play/make space – spaces that invite activity. An event that activates could be a performance, a musician playing, a communal get together – an event that invites social interaction. For each scenario, the resultant architecture needs to accommodate the ‘temporary activity’ with the capacity to become a ‘permanent’ host.

Figure 191: Floating university Berlin (Raumlabor, 2019)

Figure 192: Floating university Berlin (Raumlabor, 2019)

Figure 193: Next Library (Raumlabor, 2018) 127

Design-for-dissassembly Design-for-dissassembly is a circular design strategy aiming to design architecture as a demountable object to negate waste production at the end-of-life of a building.

The components are likened to toys including Lego blocks, Vigablocks and Tinkertoy. In other words, no glue and no discarding of any object. The structures are assembled without the use of wet materials, but rather joining methods such as ‘hook-on’ or ‘drystacking’.

‘Hook-on’ refers to the design of a curved or bent element which catches, holds or pulls another to it. ‘Drystacking’ refers to a replacement method for a wet material adhesive, for example bricklaying. The wet adhesive is replaced with a prefabricated object that keeps the bricks in place. With these strategies in mind, the buildings become easily adjustable to fit a variety of needs and maintenance over time.

Figure 195: Gallery of A Guide to Design for Disassembly (Kengo Kuma & Associates, 2020) 128

Figure 194: Drystacking example (Author, 2021)

Figure 196: Variations on a birdcage (Ossidiana, 2020)

The building as a park Earth’s biodiversity is currently under rapid decline as a result of human activity. This calls for an urgency to design places which reinvites nature back into the city and built environment. This projects regards the design of natural landscape just as important as the design of buildings. Dutch landscape designer Piet Oudolf designs garden landscapes which change with the season. Each season has something that makes it unique to the others.

This connects to the idea of use intended for this project: human activities change through the seasons, and so does the activities of nature. The highline project in New York is a good example of a transformation of terrain ‘vague space’.

Figure 198: Oudolf Garden (Effting, 2021)

Figure 199: Singer garden (Oudolf, 2021)

Figure 197: Highline New York (Oudolf, 2004) 129

Figure 200: Oudolf Garden during winter (Effting, 2021)

Material & tectonic study Recycled materials Rotterdam based architecture firm Superuse incorporates reuse as an integral part of their design strategies. They created an online platform, Oogstkaart, which plots the availability of materials from demolition sites or places undergoing renovation on a map.

This gives designers or builders access to information to locate second hand materials for new projects. The design process is thus directed by the availability of materials as follow: inventory of existing materials; sketch design; finding materials on the harvest map; preliminary design; materials that need to be acquired first hand; construction/realisation; environmental impact assessment (Superuse, 2021). According to Superuse (2021): “the latent properties of materials and products used offer added value to new products and buildings” (Superuse, 2021). This project will make use of repurposed recycled materials to construct components. Recycled items will include materials from the Oogstkaart, but will also include materials from initiatives that repurpose discarded materials.

The potential of an Oogstkaart, or harvest map, could be of value in South Africa. Currently, a lot of material harvest is saved from landfills as a means to generate money, but with such a platform, materials can be harvested before the cost of transport to landfills and back accrues.

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Stonecycling

Figure 201: Stonecycling colour range (Stonecycling, 2020)

Stonecycling is a Dutch company founded by Tom van Soest which creates custom bricks made from recycled bricks. The company receives and collects old bricks and other items from demolition sites or companies.

These items are then crushed in an industrial grinding process and mixed with an aggregate to change the colour composition of the stone.

This results in a ‘new’ stone with a unique colour, texture, size and shape. In this thesis project, custom designed building blocks are inspired by the potential of this upcycling process. Similar to Stonecycling is Rambrick, a South African initiative. Rambrick producers compress rubble and soil to create new bricks.

Due to the context of this project, the use of Stonecycling will be employed.

Stained glass (plastic) windows

Figure 202: How it’s made (Stonecycling, 2021)

Figure 205: Yona Friedman’s plastic bag stained glass windows (Dotation Yona Friedmand, 2021)

Stained glass windows from plastic bags is an innovation by Hungarian born French architect Yona Friedman. Friedman created his stainedglass windows for the Power Station of Art in Shanghai and the Gallery Minini in Brescia.

These panels are constructed through the process of melting recycled plastic bags into glass as an initiative to process plastic.

Figure 203: How it’s made (Stonecycling, 2021)

Figure 204: How it’s made (Stonecycling, 2021) 131

Recycled glass bottle wall

Interchangeable mosaic flooring panels

Figure 206: Social Development Project / Indalo + Collectif Saga (Loods, 2015)

Figure 207: Social Development Project / Indalo + Collectif Saga (Loods, 2015)

Figure 208: Magnificent mosaic tiles for beautiful home (unknown)

Recycled glass bottle wall is a technique inspired by the South African based French collective Saga, in their Silinkonduhle preschool project. Recycled bottles are inserted into a perforated plywood wall. The use of bottles negates the necessity for newly produced windows since the recycled bottles fulfil this role and in a more beautiful manner.

Interchangeable mosaic flooring panels is a concept to create floor panels made of leftover pieces of coloured stone, glass or ceramics.

The aggregates can be a collection of broken objects, crushed and assembled to create a beautiful texture. The aggregates have to be held in place with plaster or mortar, but can be constructed on interchangeable panels in order to accommodate disassembly after use.

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Glued laminated timber beams

Food waste solar panels

Figure 209: Glued laminated timber beams used in the Nest we Grow project (Kengo Kuma & Associates, 2014)

Figure 210: Food waste solar panels (Maigue, 2020)

Glued laminated timber beams made of recycled pieces of lumber are a structural engineered product comprised of a number of layers of lumber that are bonded together with moisture-resistant structural adhesives.

This project argues that lumber pieces could comprise recycled lumber pieces.

Food waste solar panels are a new invention

by Carvey Ethren Maigue, replacing traditional solar panels. These panels utilise bioluminescent particles from fruits and vegetables to create a resin which converts UV light into visible light. This light is captured onto a photovoltaic cell. The process repurposes crops that rot in the fields.

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Bio-based materials Bio-based materials refers to materials that are intentionally made from living derived substances including plants, trees, and animals. Examples include traditional biobased materials such as wood, straw and leathers, but also include modern unconventional interventions and uses.

Unconventional examples include mycelium, scoby, silk, crop-based materials (help), coconut fibre and more. These materials can be replaced without negatively impacting future needs. In general, these materials require less energy to produce and are biodegradable at the end-of-use cycle.

Figure 211: Growing pavilion at the Dutch Design week (Vinck, 2019)

Mycelium Mycelium is a type of vegetative fungus which consists of branching, thread-like hyphae.

They are predominately found in soil and other substrates. Mycelium absorbs nutrients from its environment. At the Dutch design week 2019, set designer and artist Pascal Leboucq and Erik Klarenbreek studio designed a pavilion with interchangeable mycelium panels.

The panels are light, but very strong and therefore an excellent insulator. The pavilion tested the potential of using mycelium as a building material.

Figure 212: Growing pavilion at the Dutch Design week (Vinck, 2019) 134

Silk

Hemp

Figure 213: Neri Oxman’s Silk Pavilion at the MoMa museum (Oxman, 2013)

Figure 214: Hemp wood board (unknown)

Silk is a natural protein fibre produced by Silkworms. The material can be woven into textiles and has a long history of use in the textile industry. However, new interventions include the use of silk as a building material.

American-Israeli designer and professor, Neri Oxman, studied the potential of silk through the design of a silk pavilion. The pavilion explored the potential of a relationship between digital and biological construction in the generation of a three meter wide dome.

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Hemp is a cultivar of the Cannabis Sativa class and can be used as a fibre for construction.

It is a lightweight, mould-resistant material with good ventilation qualities. The fibres can be turned into concrete, oils and varnishes, plaster, plastics and wood. In this project, the use of hemp wood panels will be explored.

Living/greenwalls

Looped systems Off-the-grid building refers to the independent energy, water and waste management of buildings without being connected to municipal utility systems. This system helps people to be self-sufficient as a aims to reduce the environmental impact and cost of living. An off-the grid system should be able to manage its input and output systems. This project will explore the implementation of off-the-grid systems in construction.

Solar panels

Figure 215: Patrick Blanc’s CaixaForum Madrid vertical garden (Blanc, 2008)

Living/green walls Living walls, or green walls, are vertical structures covered with vegetation. Green walls are predominantly found in urban conditions and contribute to a greater urban biodiversity and absorption of solar radiation.

They also add an extra level of insulation in buildings which decreases the need for internal heating or cooling systems. Living walls are also a good way to reuse collected rainwater.

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Figure 216: Food waste solar panels (Maigue, 2020)

Solar panels or provoltic solar panels are an assembly of photo-voltaic cells that collect sunlight and convert it into electricity for household use. This project will explore the potential of solar panels made from food waste.

Rainwater collection

Compost toilet

Figure 218: Compost toilet (The Spruce, 2021)

Figure 217: Rainwater tanks (unknown)

Figure 219: H&P Architect’s Toigetation (Thanh Ha, 2014)

Rainwater collection and reuse can be collected from roofs and floor surfaces and stored in rainwater tanks. This project will explore the potential of recycling used water through a greywater system by using biofilters, heliophyte plants, bog gardening and living walls as purifying systems.

Compost toilet is a dry toilet which processes human waste through composting. The composting is carried out by microorganisms under controlled aerobic conditions. Promotion of composting and prevention of smell is achieved by the use of sawdust, coconut coir and peat moss strewn over waste after use of the toilet.

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Vermi Compost

Jora Compost

Figure 220: Vermicompost (unknown)

Figure 221: Jora compost (Groundgrocer, 2021)

Vermi compost is a composting process that uses worms to create nutrient rich organic fertiliser and soil conditioner for gardens. The worms break down organic food waste and can also break down sewage after its initial compost process through microorganisms.

Jora compost is a composting method for breaking down organic food inside a rotatable barrel. The composting matter can be mixed inside the barrel, speeding up the composting process. This method also produces nutrient rich organic fertiliser for plants.

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Summary statement This chapter has explored the main principles that will be employed in the design. The project aims to enhance the sense of freedom connected to ‘terrain vague’ space by relating the act of working and being, with the act of playing. To play, according to Dr. Peter Gray (2013), is ‘an imaginative activity to occupy oneself (or a group) in an action for amusement or of recreation’ (Gray, 2013). This is achieved by likening the architecture to a playground.

This intervention is motivated by architect Constant Nieuwenhuys’s project New Babylon which created an imaginary capitalist-free reality for the Homo Ludens – Man at Play.

This thesis project imagines a similar reality and argues that the shift in spatial use today, due to digital interconnectedness, has a closer connection to ‘play’ as a way of life than ever before. Furthermore, the chapter explored the typology of playgrounds and how they could be a tool for reactivating ‘terrain vague’ space.

This resulted in a study of the playground designs of Aldo van Eyck and Isamu Noguchi.

Next, the chapter explored the process of spatial production through field theory, resulting in a ‘follies in the veld’ typology.

This method of spatial production prioritises forces and energies that play out onto the site to generate a form. The process is further extended by looking at the concept of temporary = permanent, a method of using temporary activities as activation to create ‘permanent’ intervention.

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The chapter also explored the potential of a circular design method by focusing on the concept of design-for-dissassembly. This circular approach negates the creation of waste by designing products in such a manner that they can easily be taken apart again. This tactic likens the components to that of a toy, for example Lego or Vigablocks. This concept also connects to the concept of the building as playground.

Finally, the building is set in a park-like environment, and with an increasingly degrading ecosystem it is becoming vital to consider the natural landscape as integral to the design of the building. The building is thus part of the natural system and provides shelter for more than just humans.

List of figures

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Figure 1: Trafford Centre, Manchester (Daview, 2005) Figure 2: Westplein as ‘terrain vague’ space (Author, 2021) Figure 3: Westplein as closed-loop system of activities (Author, 2021) Figure 4: Westplein as regenerated ‘terrain vague’ space (Author, 2021) Figure 5: Jannes Linder’s Lelystad circle (Author, 2021) Figure 6: Jannes Linder’s Scheptediepte (Author, 2021) Figure 7: John Davies’ Manchester (Author, 2021) Figure 8: John Davies’ Mersey square, Stockport (Author, 2021) Figure 9: John Davies’ Runcorn Bridge, Chesire (Author, 2021) Figure 10: Manolo Laguillo’s Nacimieto de la Diagonal (Author, 2021) Figure 11: The city as a sphere for action (Raumlabor Berlin 2014) Figure 12: The city as a sphere for action (Raumlabor Berlin 2014) Figure 13: The city as a sphere for action (Raumlabor Berlin, 2014) Figure 14: Lefebvre’s triad of space (Author, 2021) Figure 15: Landform Building: Architecture’s New Terrain (Allen, 2015) Figure 16: Field conditions (Reas, 2010) Figure 17: Google Sydney (Google, 2019) Figure 18: Playgrounds, Aldo van Eyck, in Amsterdam, NL (Icon, 2008)

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Figure 19: Construction with ladders (Nieuwenhuys, 1961) Figure 20: Blade made Wikado Playground and wind turbine sketch (Superuse, 2009, Author 2021) Figure 21: Floating University Berlin (Raumlabor, 2019) Figure 22: Osthang Project: Summer School (Raumlabor, 2014) Figure 23: Ville Spatiale (Friedman, 1958) Figure 24: La Montagne de Venice (NO MAN’S LAND foundation, 2016) Figure 25: People passing by Westplein (Author, 2021) Figure 26: Westplein aerial view (Author, 2021) Figure 27: Luchtfoto van de wijk Lombok te Utrecht (Fotodienst HUA, 1999) Figure 28: Luchtfoto van de oostedelijke gedeelte van de wijk Lombok te Utrecht (Fotodienst HUA, 1999) Figure 29: Westplein as ‘terrain vague’ space (Author, 2021) Figure 30: Diagram showing Westplein’s relation to Lombok and Utrecht Centraal Station (Author, 2021) Figure 31: Diagram showing daily pedestrian movement from Lombok to Centraal Station (Author, 2021) Figure 32: Sitemap showing Westplein as ‘terrain vague’ space (Author, 2021) Figure 33: Photograph of Westplein as ‘terrain vague’ space (Author, 2021) Figure 34: Photograph of Westplein as ‘terrain vague’ space (Author, 2021) Figure 35: Photograph of Westplein as

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‘terrain vague’ space (Author, 2021) Figure 36: Manolo Laguillo’s Nacimieto de la Diagonal (Author, 2021) Figure 37: Jannes Linder’s Scheptediepte (Author, 2021) Figure 38: John Davies’ Manchester (Author, 2021) Figure 39: Westplein Utrecht 2019 (collectie Het Utrechts Archief, 2019) Figure 40: Westkant Utrecht Centraal (DUIC, 2015) Figure 41: Ulu Camii, Utrecht (Arno B, 2016) Figure 42: John Davies’ Ladbroke Grove, London (Author, 2021) Figure 43: Manolo Laguillo’s empty Barcelona (Author, 2021) Figure 44: John Davies’ Runcorn Bridge, Chesire (Author, 2021) Figure 45: Utrecht Centraal surrounds renovation (Author, 2021) Figure 46: Lay drying Leidse Rijn Canal (Het Utrecht’s archief, 1929) Figure 47: Het Leidseveer wordt gedempt (unknown, 1929) Figure 48: Het rontonde bij het Leidse veer (unknown, 1940) Figure 49: Construction of Utrecht Centraal Station (Het Utrecht’s archief, 1940) Figure 50: Gezicht op het in aanbouw zijnde Westplein te Utrecht (Nederlandse Spoorwegen, 1970) Figure 51: Luchtfoto van de Daalsetunnel te Utrecht (Het Utrecht’s archief, 1970) Figure 52: Energies in Utrecht Centraal and Jaarbeursplein (Author, 2021) Figure 53: Lombok neighbourhood (Author,

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2021) Figure 54: Energies in Leidse Rijn canal (Author, 2021) Figure 55: Composite surrounding forces and energies map (Author, 2021) Figure 56: Toekomstbeeld fietsroute op de Leidseweg langs de Leidse Rijn (Gemeente Utrecht, 2020) Figure 57: Toekomstbeeld Kanonstraatbrug over de Leidse Rijn (Gemeente Utrecht, 2020) Figure 58: Current map of Westplein (Author, 2021) Figure 59: Future map of Westplein (Author, 2021) Figure 60: The site through different scales (Author, 2021) Figure 61: Utrecht Centraal station connection to other cities (Author, 2021) Figure 62: Utrecht city in connection with other cities (Author, 2021) Figure 63: Utrecht before 1540 (Author, 2021) Figure 64: Utrecht 1580 (Author, 2021) Figure 65: Utrecht 1829, Zocherpark (Author, 2021) Figure 66: Utrecht 1994, segments of the Singel laid dry for construction of Hoog Catherijne complex (Author, 2021) Figure 67: Westplein spatial conditions (Author, 2021) Figure 68: Utrecht city map (Author, 2021) Figure 69: A perfect street scene (Author, 2021) Figure 70: Utrecht meeting space collage (Author, 2021)

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Figure 71: Graaf Floris cafe restaurant Utrecht (TasfotoNL, 2016) Figure 72: Sensory awareness of pedestrian (Author, 2021) Figure 73: Spatial condition in Utrecht (Author, 2021) Figure 74: Composite constraints and informants map Utrecht (Author, 2021) Figure 75: Aerial view of buildings, Utrecht, the Netherlands (Bodi, 2020) Figure 76: Utrecht, Oudegracht - Utrecht in lockdown (Bos, 2020) Figure 77: Forces and energies in utrecht Centre (Author, 2021) Figure 78: Utrecht Centraal Station (Unknown, 2019) Figure 79: Photograph of Jaarbeursplein (Author, 2021) Figure 80: Photograph of busstop on Jaarbeursplein (Author, 2021) Figure 81: Forces and energies in Utrecht Centraal Station (Author, 2021) Figure 82: Molen de Ster (Molen de Ster, 2019) Figure 83: Photograph of Leidse Rhijn canal (Author, 2021) Figure 84: Elevation of Leidse Rhijn canal (Author, 2021) Figure 85: Forces and energies in Leidse Rhijn canal (Author, 2021) Figure 86: Kanaalstraat, The power of multicultural community engagement (Couperus, 2017) Figure 87: Forces and energies in Lombok (Author, 2021) Figure 88: History of Lombok (Author, 2021)

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Figure 89: Oude foto’s uit de Van Diemenstraat (Unkown, 1960) Figure 90: Oude foto’s uit de Van Diemenstraat (Unkown, 1960) Figure 91: Oude foto’s uit de Van Diemenstraat (Unkown, 1960) Figure 92: Oude foto’s uit de Van Diemenstraat (Unkown, 1960) Figure 93: Oude foto’s uit de Van Diemenstraat (Unkown, 1960) Figure 94: Sketch of Westplein, Lombok, Utrecht (Author, 2021) Figure 95: Sketch of Ulu mosque (Author, 2021) Figure 96: Lombok map (Author, 2021) Figure 97: Damstraat Elevation, looking west towards Lombok neighbourhood (Author, 2021) Figure 98: Kanaalstraat elevation, looking south. This street is the heart of Lombok neighbourhood. (Author, 2021) Figure 99: Lombok map (Author, 2021) Figure 100: Damstraat Elevation, looking east towards Lombok neighbourhood (Author, 2021) Figure 101: Kanaalstraat elevation, looking north onto site and Ulu mosque (Author, 2021) Figure 102: Lombok map (Author, 2021) Figure 103: Elevation of Vleutenseweg, Utrecht (Author, 2021) Figure 104: Spatial conditions in Lombok, Utrecht (Author, 2021) Figure 105: Composite constraints and informants map Lombok, Utrecht (Author, 2021)

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Figure 106: Site map Westplein (Author, 2021) Figure 107: Site elevation (Author, 2021) Figure 108: City talks (RAUM, 2020) Figure 109: RAUM cafe the future is female (RAUM, 2020) Figure 110: D.R.E.A.M. #2 pleased to meet you (RAUM, 2020) Figure 111: De reuringsdienst (Hiensch, 2020) Figure 112: Werk_ (Loods, 2020) Figure 113: Werk_ (Loods, 2020) Figure 114: Werk_ (Loods, 2020) Figure 115: Site elevation as an activated space (Author, 2021) Figure 116: Stichting Perron West (Schmidt, 2019) Figure 117: LDD workshop (Kumar, 2020) Figure 118: Pluktuin (Kumar, 2021) Figure 119: Stichting Perron West, LDD, and Pluktuin (Author, 2021) Figure 120: Vaneigenstek garden (Instagram, 2021) Figure 121: Birdcage radio (Instagram, 2021) Figure 122: Lombok Talks (Instagram, 2021) Figure 123: Stichting Muziek in Huis - Duo Cellousy (stichtingmuziekinhuis, 2019) Figure 124: Noncreatorscompany (Instagram, 2021) Figure 125: Patsy Kroonenberg (Instagram, 2021) Figure 126: To wither and weather (Bachy, 2021) Figure 127: House Sparrow (ourworldmyeyes, 2018)

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Figure 128: Voedertijd (Egberts, 2014) Figure 129: HKU events (HKU, 2019) Figure 130: Draaij (Instagram, 2020) Figure 131: HKU students (HKU, 2021) Figure 132: Ubuntuhuis Actualiteit (Ubuntuhuis, 2017) Figure 133: Rosco Boekenhout Instagram, 2021) Figure 134: Travelling Farm museum (Instagram, 2021) Figure 135: Brommerbios (Instagram, 2021) Figure 136: Hangman Radio show (Hangman Radio show, 2020) Figure 137: Duizenden mensen bij tweedaags Kadeconcert in Utrecht (Kooij, 2019) Figure 138: De Concertzender (Culturele Zondagen, 2018) Figure 139: Ulu Camii (Facebook, 2019) Figure 140: ROOST aan de Singel cafe with people chilling next to the water (Roost aan de Singel, 2021) Figure 141: Oranjezicht Farmer’s Market (Oranjezicht, 2021) Figure 142: Koningsdag 2021 outside the Ulu Camii mosque (Ulu Camii, 2021) Figure 143: Two poor old men playing chess in the park (Sokolean, 2008) Figure 144: The 3 users compared to the sustainable development triad (Author, 2021) Figure 145: NOAHH’s proposal for Berlijnplein (Author, 2021; Odulinska, 2020) Figure 146: The 3 users compared to the sustainable development triad (Author, 2021)

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Figure 147: LDD flow of activities (Author, 2021) Figure 148: Stichting Perron West flow of activities (Author, 2021) Figure 149: Pluktuin flow of activities (Author, 2021) Figure 150: Typolology suggestion based on the activity flows of 3 users (Author, 2021) Figure 151: NOAHH’s proposal for activity flow at Berlijnplein (Author, 2021) Figure 152: RAUM Pop-up (RAUM, 2020) Figure 153: TERUGBLIK: Talkshow het hert (RAUM, 2020) Figure 154: Zomerse opening Summerplay (RAUM, 2020) Figure 155: Gewildgroei: Tijd is alles (RAUM, 2020) Figure 156: RAUM diner (RAUM, 2020) Figure 157: Memory Dance (RAUM, 2020) Figure 158: Wolff Architect’s floorplan of the Watershed - interior street (Author, 2021) Figure 159: Wolff Architects’ the Watershed, vertical interaction (Author, 2021) Figure 160: Entry from the city (Wolff, 2014) Figure 161: Interior ‘street’ flow (Wolff, 2014) Figure 162: First floor coworking space (Wolff, 2014) Figure 163: De Ceuvel: A cleantech playground (Metabolic, 2014) Figure 164: Cafe de Ceuvel (Deceuvel, 2014) Figure 165: De boten, De Ceuvel (Deceuvel, 2014) Figure 166: Sustainability at De Ceuvel

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(Deceuvel, 2014) Figure 167: Before @Werk_, Port Elizabeth (Loods, 2021) Figure 168: In-between @Werk_, Port Elizabeth (Loods, 2021) Figure 169: Today @Werk_, Port Elizabeth (Loods, 2021) Figure 170: Floorplan of Werk_ showing horisontal flow vs office typology (Author, 2021) Figure 171: Multiuse stage possibilities (Author, 2021) Figure 172: Sexyland world logo, Amsterdam (Sexyland world, 2021) Figure 173: Firebird performance at Sexyland world, Amsterdam (Instagram, 2020) Figure 174: Stuntman Uncle Jefferson at Sexyland world, Amsterdam (Instagram, 2020) Figure 175: United west stream at Sexyland world, Amsterdam (Instagram, 2020) Figure 176: Oranjezicht City Farm (Alamy, 2018) Figure 177: Gardening at the Oranjzicht City Farm (Oranjezicht, 2019) Figure 178: Oranjezicht City Farmer’s Market at the V & A (Oranjezicht, 2021) Figure 179: Markthal Rotterdam (Preneurl, 2008) Figure 180: Site elevation as an activated space (Author, 2021) Figure 181: Representational drawing by Yona Friedman (Friedman, 1960) Figure 182: The building is likened to a playground (Author, 2021)

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Figure 183: Constant Nieuwenhuy’s New Babylon highlighting flow between spaces (Author, 2021) Figure 184: Representation sketch of New Babylon (Nieuwenhuys, 1970) Figure 185: Playground at Laurierstraat, Amsterdam (Van Eyck, 1965) Figure 186: The playgrounds and the city (Van Eyck, 1965) Figure 187: In search of contoured playgrounds (Noguchi, 1941) Figure 188: Teppozu playground, Tokyo: mound (Kaneko, 1935) Figure 189: SANAA Architectect’s Rolex Centre, exploded axo (Author, 2021) Figure 190: SANAA Architectect’s Rolex Centre, plan (Author, 2021) Figure 191: Floating university Berlin (Raumlabor, 2019) Figure 192: Floating university Berlin (Raumlabor, 2019) Figure 193: Next Library (Raumlabor, 2018) Figure 194: Drystacking example (Author, 2021) Figure 195: Gallery of A Guide to Design for Disassembly (Kengo Kuma & Associates, 2020) Figure 196: Variations on a birdcage (Ossidiana, 2020) Figure 197: Highline New York (Oudolf, 2004) Figure 198: Oudolf Garden (Effting, 2021) Figure 199: Singer garden (Oudolf, 2021) Figure 200: Oudolf Garden during winter (Effting, 2021) Figure 201: Stonecycling colour range

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(Stonecycling, 2020) Figure 202: How it’s made (Stonecycling, 2021) Figure 203: How it’s made (Stonecycling, 2021) Figure 204: How it’s made (Stonecycling, 2021) Figure 205: Yona Friedman’s plastic bag stained glass windows (Dotation Yona Friedmand, 2021) Figure 206: Social Development Project / Indalo + Collectif Saga (Loods, 2015) Figure 207: Social Development Project / Indalo + Collectif Saga (Loods, 2015) Figure 208: Magnificent mosaic tiles for beautiful home (unknown) Figure 209: Glued laminated timber beams used in the Nest we Grow project (Kengo Kuma & Associates, 2014) Figure 210: Food waste solar panels (Maigue, 2020) Figure 211: Growing pavilion at the Dutch Design week (Vinck, 2019) Figure 212: Growing pavilion at the Dutch Design week (Vinck, 2019) Figure 213: Neri Oxman’s Silk Pavilion at the MoMa museum (Oxman, 2013) Figure 214: Hemp wood board (unknown) Figure 215: Patrick Blanc’s CaixaForum Madrid vertical garden (Blanc, 2008) Figure 216: Food waste solar panels (Maigue, 2020) Figure 217: Rainwater tanks (unknown) Figure 218: Compost toilet (The Spruce, 2021) Figure 219: H&P Architect’s Toigetation

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(Thanh Ha, 2014) Figure 220: Vermicompost (unknown) Figure 221: Jora compost (Groundgrocer,

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