Archiprint 15 - Expanding Profession

15

A CRISIS OF CULTURE Boris Koselka & Dominika Kopiarova

THE SAME BOAT Fenne Jansen

PAST THE ERASMUS BRIDGE Ananda Jaganathan

KNOWLEDGE & RESPONSIBILITY Nick van Garderen & Tomasz Dudek

THRIVE WITHIN AN (IMPERFECT) SYSTEM Boris Koselka & Fenne Jansen

Archiprint December 2019 \\ Issue 15

AnArchi is proud to present to you the fifteenth issue of Archiprint:

EXPANDING PROFESSION

Archiprint is the journal of AnArchi, study association for architecture at Eindhoven University of Technology. Archiprint explores the current architectural polemic and strives to contribute to this debate.

EDITORIAL Nick van Garderen

1

Concrete

rules

on

the

standardized pay for architects.

Internationally,

2

archi-

minded role of the government

tecture firms and projects played

Dutch

was mimicked by the large and in-

important roles in the twentieth

fluential housing corporations in

and twenty-first centuries. With

the country. This resulted in the

the notable influence on archi-

apex of the much-debated open

tecture and urbanism in recent

competitions, and the thriving of

history by figures such as Hen-

a new generation that brought in-

drik Petrus Berlage, Gerrit Riet-

novation and a new view on the

veld, J.J.P. Oud, Willem Dudok,

profession with it. The influence

Aldo van Eyck, Piet Blom, Herman

and progressiveness of key fig-

Hertzberger and Rem Koolhaas,

ures within the Dutch authorities,

there seems to have been some-

embodied in the functions of Ri-

thing about Dutch architecture

jksbouwmeester (Chief Govern-

culture that caused architecture

ment Architect) and Stadsbouw-

and architects to thrive in the

meesters (City Architects), cleared

low countries. Major companies

the stage for firms like Mecanoo,

that originated in the Netherlands

MVRDV and Neutelings-Riedijk.

are currently at the forefront of

It is through the possibilities that

contemporary architecture, con-

were given to these young archi-

tributing not only to the Dutch

tects that Dutch architecture be-

cityscapes, but making their mark

came internationally regarded as

all over the world. Most of these

innovative and optimistic, even

companies found the origins of

christening the Dutch building

their success in the 1980s and

process as a culturally inspiring

1990s in the Dutch field. At this

phenomenon. The opportunities

time in the Netherlands, young,

that were given to this generation

starting architects where given

by influential individuals such as

chances and commissions by the

Tjeerd Dijkstra, Kees Rijboutt and

national government for iconic,

Riek Bakker caused Dutch archi-

large-scale projects. This open-

tecture to become institutional-

ized as an export product in high

1990s. An attitude that, according

questions that arise from Kempe-

international demand. The possi-

to them, has changed for the

Thill’s 2008 publication and the

bilities and the demand for inno-

worse due to the introduction of

quest for change as advocated

vation, the characteristics of the

the regulations imposed by the

in that publication. In addition to

Dutch building culture in these

European Union. Though intended

this, the interviewed architects

decades, resulted in the creation

to bring the various European

are asked to shine their light on

of now famous architecture of-

countries together and stimulate

the nature of the profession of

fices, with OMA and UNStudio as

the cultures within the Union, the

the architect in relation to tender

perhaps the most successful and

opposite seems to have happened

culture.

financially thriving architecture

in the Netherlands.

building culture is examined in

enterprises of the past century.

issue,

Dutch

regard to that in various European

the

and non-European countries, such

as the promise of the future, that

question of whether or not the

as Belgium, Japan and Germany.

still seem to dominate the scene.

tender culture in the Netherlands

Within

There seems to be little left of

is very different under these

Archiprint 15 sets out to explore

the once so celebrated drive for

European rules when compared

the differences in tenders and

innovation and the attitude of

to other countries and whether

architecture

creating possibilities for upcoming

or not a change of culture might

through the experiences of these

architects attributed to the Dutch

be deemed necessary. Starting

practitioners in an endeavor to

system. This discrepancy between

from the wish for change as

answer the questions of what the

the attitude of the final decades

proposed by Kempe-Thill, various

current Dutch tender culture is,

of the twentieth century and

practitioners,

only

what might or might not be wrong

today in the Netherlands is a shift

in the Dutch field but also with

with it, and what the role of the

that has been noted by various

experience in other countries,

architect is within this system and

practitioners, most notably Atelier

have been asked this question.

how this might differ across the

Kempe-Thill.

With

its

almost

observations

this

of

It is these offices, once lauded

The

In

Kempe-Thill

resulted

active

in

not

this

across

examination,

the

globe

Though we are well aware that

continent, while despite the fact

manifesto-like work Naar een

the

that similar rules are applicable.

Nieuwe

Aanbestedingscultuur 1

attitude towards this culture is

(Towards a New Tender Culture)

one that has various constituents,

from 2008, the two German-born

it is the optics of the architect

architects try to indicate the

in regard to the tender culture

shift of attitude and advocate

that is dealt with in this issue.

for a change. In this document

Through interviews with AndrĂŠ

the two define the informality

Kempe

of Dutch culture as the roots for

Kira, Machteld Kors (UNStudio)

the prevailing attitude towards

and

architecture in the 1980s and

this issue tries to examine the

tender

culture

(Kempe-Thill),

Birgit

Rapp

and

the

Moriko

(Rapp+Rapp),

3

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CONTENTS

1 2 3 4

A CRISIS OF CULTURE Conversation with Andre Kempe

THE SAME BOAT Conversation with Moriko Kira

PAST THE ERASMUSBRIDGE Conversation with Machteld Kors

KNOWLEDGE & RESPONSIBILITY Conversation with Birgit Rapp

THRIVE WITHIN AN (IMPERFECT) SYSTEM

5

A CRISIS OF CULTURE Conversation with André Kempe Boris Koselka & Dominika Kopiarova

1. Design statement

by Atelier Kempe Thill: www.atelierkempethill. c o m /o f f i c e / .

Atelier Kempe Thill was founded around the turn of the century by

André

Thill,

both

Kempe German

and

Olivier

architects.

After the fall of the Berlin Wall, Kempe describes the architecture discourse in the east of Germany as the ‘wild east’ causing them to look abroad and finally settle their office in the Netherlands in 2000.

In their design statement they state that they intend to tackle the paradox between the neutral adaptiveness and the specificity that they observe in contemporary architecture. Their aim is to create structures

that

are

economic,

enjoyable and innovative1 .

André Kempe describes the state of the Dutch architecture discourse and the informal culture in the 1990s and the 2000s in the Netherlands as one of the reasons that he and Olivier Thill, both graduates of Dresden University of Technology, decided

‘There were demands for turn-overs and demands for reference projects, which were becoming increasingly unfeasible for architects.’

to settle their atelier in Rotterdam.

The open-minded context at the time endorsed creative freedom and gave architecture firms the opportunity

In response, in 2008 Atelier Kempe

to gain a standing through major

Thill published its research in Naar

commissions.

een

nieuwe

Aanbestedingscultuur

‘A good example of this is the Erasmus

(Towards a New Tender Culture), 2

Bridge. At that time a 32-year-old

in which the architects delved into

Ben van Berkel was commissioned

the influences of these changes on

to design a multimillion-euro bridge.

Dutch

These kinds of opportunities were

observed

disappearing,

which

led

to

architecture that,

culture.

before

any

They form

the

of design is judged, architects are

question: Why are they disappearing?’

filtered on the basis of portfolios

According to Kempe, the problem

and the corresponding turn-overs.

began in the early 2000s, when new

Of course, the intention was to give

European regulations were introduced

the ‘right commissions’ to the ‘right

that were meant to stimulate a

people’.

fairer and more competitive market.

Kempe, this merely excludes smaller

However, in the Netherlands, they

firms and starting architects from

were interpreted in such a way that

getting into the market. Although it

they also presented requirements

is clear that the introduction of the

that, according to Kempe, often made

EU regulations was the catalyst for

it difficult for young offices that had

this development, in Towards a New

However,

according

to

not yet established themselves in the

Tender Culture Atelier Kempe Thill

market.

compares the Dutch tender culture

‘The intention was to minimize

to those in other parts of Europe. In

the risk for the public clients, but

doing so the differences between the

the question is what else they were

interpretations and implementations

minimizing. Especially the possibilities

of these European regulations in

for architects and for architecture.’

Europe

are

demonstrated,

with

7

the result being more severe in the

regulations were a far bigger shock to

Netherlands.

building culture in the Netherlands.

2

Kempe describes Dutch architects as

ontwerpwedstrijden.

being less able to converse with this

n l /d o t A s s e t /

addition of juridical factors.

e d 5 6 4 d e e -

Kempe gives the example of the honorarium 2

order,

which

was

discontinued with the intention to create a free and more competitive

‘In Belgium there is a lot more

df0f-4fcc-a5d3-

standardized

juridical knowledge among architects.

2b812c5e477a.pdf.

pay for architects to be revoked.

Within the systems of the Flemish

According to Kempe, Dutch architects

City Architects, juridical positions are

chose

market.

This

to

caused

trading

often occupied by architects or urban

mentality, which led to a race for

follow

their

designers. They do not need to include

the bottom. As a result, during the

lawyers in the process as much.’

economic crisis, there were instances

Kempe mentions that cultures in

of architecture firms offering their

Europe can be extremely different,

work for a quarter of the financial

despite being topographically close to

value. ‘Architects believed that they

each other. This creates a dynamic in

can set your own figure, but the result

which living standards can be identical

is not that you win, but that you are

while regulations differ drastically.

pushed even more to the ground.’

Kempe draws the comparison on

Contrary to the Dutch approach,

the basis of the historical religious

some countries in Europe did not

affiliations. While the Netherlands is

entirely

rooted in Protestantism, Belgium is a

abolish

standardized

pay.

In Austria, independent research at

more traditional Catholic country.

several universities was conducted to

‘There are a lot of cultural animosities

estimate the hours spent on a project

and differences within Europe. From

to advise the clients and architects.

Brussels to France to Italy, all these

Despite

intervention

cultures have their own specificities.

being the same for both countries, the

EU regulations, on the other hand, try

results drastically differ due to the

to implement specific rules to create

variety in its implementation.

uniformity – which succeeds in some

the

original

Looking Past the Border Before the EU regulations came into effect, Dutch building culture was defined by its ‘anarchic stance’, being

8

www.

cases, but in my perception the part that ends up uniform is maybe 20 per cent, whereas the part that is countryspecific is about 80 per cent.’

While

the

Netherlands

has

less accustomed to strict regulations.

somewhat fallen from grace in the

Because

public eye, Belgium’s architecture

of

this,

the

European

culture has been flourishing for a good

cities. Beyond that, architects should

part of the last decade. Ironically, it has

organize themselves.’

been doing this with a system that can be interpreted as inspired by the Dutch Chief Government Architect system.

Kempe points to Kristiaan Borret

3

as

‘Beyond that, architects should organize themselves.’

having played a key role in Flemish 3 Kristiaan Borret has

architecture as the City Architect of

been the City Architect

Brussels. Kempe notes that there is a

of

A Cog in the Machine

Brussels-

need for strong public authority, with

Current Dutch architecture culture

Capital Region since

a high regard for quality and of course

resides in ambivalence. We have a

2015. From 2006 to

knowledge: What is good for the city?

foregone, but recent history of highly

2014, he was the City

What makes a city beautiful? And what

acclaimed architectural quality, which

Architect of Antwerp.

kind of circumstances do I need to

is being replaced by our tendency to

create as a public authority to ensure

take a purely economic stance. This

that these things take place?

capitalist mindset seems to have

the

‘Someone like Kristiaan Borret in Brussels

has

more so than in our neighbouring

He can veto a building permit, if it is

countries. The battle between cost

handed in and does not show the quality

and quality is a never-ending tug of

originally intended in the competition.

war between construction companies

These things automatically turn into

and architects. Kempe states that it

negotiations, and then the client will

is inherent to an open market that all

also become aware of the fact that he

players will tend to go for a minimum

does not have free reign and the building

standard. It is assumed that the

can simply be refused if it is not up to

cheapest option is the starting point

certain standards. That is something

by default, any deviation from the

very important. . . . One disadvantage of

cheapest solution needs to be worked

Dutch culture is that there is a strong

for, if it is possible at all. Constructing

disbelief

The

the building as quickly and cheaply

Dutch mentality is that the market as

as possible, while still being passible,

such will organize everything well, but

has become the general goal. Because

in reallity the market organizes nothing

of this mentality, DBFMO (Design,

beyond pure financial interests. Quality

Build, Finance, Maintain and Operate)

of cities and buildings was always also

and PPP (Public Private Partnership)

forced by public authorities taking

tenders are becoming more popular,

care of the

as these tend to have benefits that

public

very

created a culture of tunnel vision,

important.

in

been

authorities.

collective interests of

9

are easily quantifiable 4 ,

such as

reversed. The role of the architect is

costs and construction time. This

not to defend his or her position in

4

is something that generates a great

the process, but to guard the quality

(ed.),

amount of political favour, which

of the building.

DBFM Contracts on

tends to support this quick and cheap approach.

‘Effects

of

Execution:

is that the Belgians are by definition

Experiences from the

contracts

quite conservative and seem to find it

Field’,

at an earlier stage and with more

very important to get good quality. All

Second

responsibility, but also more power

the discussion about practical things

Conference World of

to defend their interests, while the

like window systems, sustainability

Construction

role of the architect is brought back

and insulation values is somehow

Management

to being a cog in the machine of the

related to the conservative idea that

Delft

building process.

we want to have something durable.

of

Technology,

This also causes the demands to be

the

Netherlands.

involved

in

design

‘That was literally the idea. The idea was to make the architect be part of the building industry in the same way

higher than in the Netherlands.’

the designer of a car is part of BMW,

Expanding the Profession

the firm that produces the car. We

Despite the attention the research

as architects would stop being a free

by Atelier Kempe-Thill has received

profession but become subsidiary to

from the Chief Government Architect

the whole building machinery.’

of the Netherlands, little has changed.

Not only politicians, but clients too,

There has not been any substantial

are becoming less and less convinced

conversation about a possible system

by the quality an architect brings

change, nor did architecture firms jump

to the table. Architectural quality is

at the chance to fight that system. The

difficult to quantify, but the price of

opposite is true, Kempe even recalls

a building is very unambiguous. In

an architect arguing for his own

the current climate the value of the

entrepreneurial position. Seemingly,

architect is not implicit, the starting

improving the architectural climate

point for each design is the cheapest

in the Netherlands would require a

solution

culture shift.

available

improvement

10

Project

Roohé

companies

are

Construction

‘Another thing that is important

Michiel

or

and

for

deviation

every clients

‘With this action we kind of tried to

have to be convinced. If we again

mobilize a lot of architects to support

look to our southern neighbours, we

our ideas. However, their support was

see a completely different attitude

less than we had hoped for, since it

In Belgium, the balance between the

was too closely related to the direct

client and the contractor seems to be

commercial

interest

of

architect

presented

at:

International Project 2007,

University

offices and they were clearly choosing

professions

opportunism in this case.’

order to do this, he or she will need

Changing the entire set of morals

and

professionals.

In

sufficient knowledge in all of these fields – knowledge that goes beyond

‘They chose not to bite the hand that feeds them, which we found a real pity.’

scratching the surface, or at least the capacity to comprehend these fields and argue against them. However, the overlap in knowledge, or at least willingness to learn is crucial on either

and values of a country is not

side of an argument, including within

something that can happen overnight,

the political fields that make up the

and the profession of architecture

rules. The successes caused by the

will probably never be completely

Chief Government Architect and City

without conflict, nor should it be.

Architect systems have shown how

There will always be multiple parties

the right person in the right place

involved with varying interests and

can positively influence architecture

priorities. The fact that our society is

culture. But the essence of the

becoming more and more complex is

problem seems to lie in valuing the

mirrored in our buildings. As the scale

profession of the architect.

and density of projects increase, more experts in the fields outside of the traditional understanding of the built environment are being introduced into the design process. The role of the architect is expanding into becoming a mediator for all involved parties.

Large-scale

competitions

might

already require consulting multiple field experts ranging from logistics to security, from sociology to biology.

In

order

for

the

relevance

of

architecture to compete with all these fields, an overlap of knowledge is required. If an architect is in a position where he or she needs to defend their vision, this will have to be against every single one of these

11

THE SAME BOAT Conversation with Moriko Kira Fenne Jansen

Japanese architect Moriko Kira, who considers herself to be more of a Dutch architect with Japanese roots, moved to the Netherlands in 1990. Architecturally educated at the Waseda University in Tokyo, she was eager to acquire more knowledge on the other side of the world where, at the time, the field of architecture was rapidly growing – and taught by none other than Rem Koolhaas himself. Surrounded by the younger – but no less inspiring – Jacob van Rijs, Winy Maas, and Floris Alkemade, Moriko now looks back on that year she spent at Delft University of Technology as being mind-changing.

Initially, Moriko’s motivation for

Not Joining the Tender Game

studying architecture was grounded

According to Moriko, she ‘started

in the nostalgic streets of downtown

to function around the year 2000’.

Tokyo. Even though the architecture

With ‘function’ she refers to designing

education in Japan did not respond

buildings, as her interests are spread

to

wasn’t

over many more disciplines, such

disappointed nor did she dislike this

her

expectations,

she

as writing, interviewing, organizing

way of getting in touch with the

symposia and creating exhibitions.

architectural field. However, once

Comparing the Dutch and Japanese

being under the teaching wings of

building cultures is certainly her

Koolhaas at the TU Delft, she started

biggest interest, or hobby, as she likes

to completely change her vision on

to call it herself.

architecture. From freely creating her

‘Between

1992

2000

that allows architecture to be a part

I

of the city. Not only this one year

interesting people to talk with them

at the TU Delft, but the full Dutch

about the reason for Dutch urbanism

architectural and urban experience

and architecture being organized the

has changed Moriko’s architectural

way it is. I talked with them about

vision completely:

Dutch

interviewed

a

exhibitions

I

was

1. Dutch architecture

organizing

and

‘own buildings’ to stepping into a role

lot

architectural

of

and

different

features

like

‘At that time, the education in

horizontality and equality. In this

part

Japan was very focused on “how

period I was also writing articles for de

of the homonymous

to make a building”, especially on

Architect1 . I like to do different things,

architecture platform.

“how to make an iconic building”, on

to reach different disciplines, but

architecture that has nothing to do

towards the year 2000, I decided that

with its surroundings. While being in

I wanted to start designing buildings.

Delft, being with Rem Koolhaas, and

I was one of the architects of the

his assistant Ben van Berkel, I started

Rijksgebouwendienst

to realize that architecture is so

Building Agency). At the time, they

much more. That it is part of society.

had a special programme for young

This

architects

trade

journal,

a

principle

significant

certainly

conveys

difference

between

Japanese and Dutch architecture.’

like

me.

(Government

This

created

an opportunity for me to work on projects like the Sieboldhouse, which was a renovation of a koetshuis (coach house). By being a rijksbouwmeester (government architect), I already got to have very interesting experiences

13

at the start of my architectural career.’

clients, and I am not good at playing

As the new tender regulations made

the game of attracting them. I think

their appearance around the same

these

period Moriko began to ‘function’, this

more and more about how to win

could have affected her career start.

them. As an architect, you have to be

We now know that this influence

very professional about this upcoming

could have been of great impact,

trend in tender culture. And some

rather

negatively

than

competitions

are

becoming

positively.

architects are. They’re making a living

Morika, however, managed to bypass

based on these tenders. I cannot join

the issue by following a different way

that game. I have another way of

of working.

working, which is very complicated, very time-consuming, but well, that’s

One of the big problems that

my life.’

Atelier Kempe Thill found with the new regulations, was that it was very difficult for young architects to start for themselves around the year 2000.

What are your experiences with this,

‘I cannot join that game. I have another way of working, which is very complicated, very timeconsuming, but well, that’s my life.’

considering you started in the same time period?

‘I think I started for myself just before this period. But I have to admit

Specificity

that I never came in contact with those new tender regulations because

Not all architects have the privilege

for them you have to apply on CV,

of having projects handed to them

and as a starting architect you always

on a plate. Especially when looking

have either too little on paper to turn

from an economic point of view.

over, or too little experience overall.

How would you say you got into the

The only projects I was, and still am, doing are specific projects for which

14

position where you are approached for projects in the first place?

clients come to me specifically. And I

‘You can look at it as being a

think that in a way, for me, that works

stepping stone in your architectural

better than applying for tenders. At

career. Of course, you will not become

the time I was asked to participate in

a millionaire by taking only projects

competitions, but I have to admit that

for which you are personally asked. In

I am not good at these competitions.

that sense, my way of working doesn’t

I am not good at not knowing my

count as a very good business model.

The main reason for choosing for

and scarcity of ground, combined

this way of working is that I want to

with the high price of demolition,

explore all sorts of disciplines within

is creating many opportunities for

my architectural career. I like to work

renovation in Japan. Although the

on projects, but I also want to write,

Japanese have some catching up to do

for instance. At a certain point in

when it comes to renovation, during

my career, probably around the year

the interview Moriko emphasizes the

2000, I felt very empty. At that time I

high level of specificity in Japanese

had about ten employees at my office

building

and the way I was working felt very

architects in particular are working

far removed from intellectually using

on specific projects with specific

my brain.’

clients who trust them blindly. This

culture.

Young

Japanese

With this not particularly profitable

specificity encompasses a way of

but broadly oriented way of working

working that Moriko is definitely

or

not

enthusiastic about. When putting the

the

architect in full control of the design

Netherlands, but occasionally also in

process, figuring out the building

her native country, Japan. However,

together with the client, there is

the regulations concerning building

no need for involving either the

culture are a little bit different on the

developer or the contractor during

other side of the planet. For instance,

this stage. According to Moriko:

only

‘business responds

model’, to

Moriko

clients

in

buildings are knocked down after about 20 years, because the ground in Japan is of such great value. Whereas the thrifty Dutchman will always be thinking ahead: what if I want to sell this building in 20 years? That this question is now asked in Japan more and more often as well is caused by the huge, and rising, vacancy there.

‘In the Netherlands, specificity does not exist in the building culture. What is happening in Japan is more of a Belgian situation. The Dutch are more restrained, more rational, more reasonable.’

All of these empty buildings mostly remain unutilized until their very end, as their value is negligible compared

This can also be seen in the relation

to the plot they occupy. The fact that

with clients. In Moriko’s experience,

almost 30 per cent of the houses in

Dutch clients know very well what

Japan are empty has led to falling real

to

estate prices. The expanding vacancy

Occasionally they expect too much,

expect

from

their

architect.

15

but

their

Moriko settling doesn’t exist in Japan.

expectations are low. If the choices are

more

often

than

not

Not only do most people not know

made monetary safely and reasonable,

their

the building will ultimately turn out to

citizens

be okay. Nothing more, nothing less.

relationship with the neighbourhood

neighbours, don’t

most

have

any

Japanese kind

of

they live in. Looking back now, from

Is this principle contrary to that in

her new home base in Amsterdam,

Japan? Do people expect a lot from

this rather ‘abstract’ way of living is

the architect there? Are very high

what Moriko wanted to desperately

standards for architects being set in

escape from. Her low point was during

Japan?

her high school years, when she had

‘Not only in architecture but also in education, from childhood, from a very

during rush hour, underground.

young age, these high expectations

Having set foot on the Tokyo

are set. My Dutch partner always

(under)ground myself, I experienced

says that Japanese society is like a

that while travelling through it you are

“kidnapping society”.’

very much dependent on the subway,

By is

‘kidnapping

referring

to

society’ a

Moriko

society

with

exceptionally high standards, with tremendously high expectations of its inhabitants. The situation in Japan is quite tough, but in tough situations, one can create very strong conditions.

Abstract Living Moriko relates not only this tough situation, but also the tremendous number of people living in Japan, to the freedom and creativeness of the Japanese architect. Or more accurately, to the highly standardized quality of Japanese architecture. On the other hand, she points out that the large amount and the high inflow and outflow of people in Tokyo causes them not to settle there. According to

16

to travel every day for almost an hour,

riding on tracks that are hidden from

Dutch designing contractors cannot

everything the city has to offer. As the

be compared to the big Japanese

subway map is ultimately your (only)

contractors, who employ good, highly

point of reference, the term ‘abstract

qualified

living’ can be properly visualized using

‘high quality’ is not interchangeable

that of Tokyo. When people become

with ‘architecturally pleasing’ here.

architects.

Nevertheless,

aware of their abstract way of living,

Moriko indicates: ‘You can state that

aware of the countless kilometres

it’s a good building, of high quality,

they spend underground, they will

but it doesn’t move your heart. Over

either want to leave or try to make a

the last 20 years, building in Tokyo

change. According to Moriko:

has become very, very boring.’

This is, according to her, leading to

‘The 30 million people living in the conglomerate of Tokyo, thinking in a certain way, conditioning the buildings and space, they create the city.’

a decreasing quality of architecture and

the

demise

of

architectural

craftsmanship. In both Japan and the Netherlands the same money, the same intentions and the same turnover are involved – so both countries suffer

Rome was not built in a day, and

from this problem. In the Netherlands,

the people of Tokyo will not change

however, there is a dialogue about

their way of living in one day either.

the building being high or low, for

Such big transitions require a lot of

instance. This sense of responsibility,

time, support and effort. Over the

controlled by regulations, ensures

past few years, there have been some

a certain quality. In Japan, there is

other changes in Japanese building

no such control over what a building

culture. The same changes that have

does to the city. Both Japanese and

occurred in the Netherlands: the

Dutch architects – eventually all

contractor has become as important

architects – are looking for a new kind

as the architect – sometimes even

of field, a field in which they can mean

more trusted. This assures the client

something. They are making attempts

of, at least, a cheap and quick design,

to keep architectural craftsmanship

regardless of the quality or character

alive. According to Moriko, the ones

of the building. One big difference

that succeed in this are the architects

between the situation in Japan and

who deal with context and care in a

the situation in the Netherlands has to

new way. These are the architects

be mentioned here, according Moriko.

who know when and how to take their

The fairly low-quality level of the

responsibility.

17

Empowering the People

who has made it her hobby to compare the two, the Japanese are

Coming back to the phenomenon of

more in favour of learning from the

2.

the contextless, abstract way of living

Dutch than vice versa. Especially

finished in July 2018,

in Japan. Do you think it is up to the

when talking about the importance of

that runs from the

architects, that it is the architects’

context in building culture. However,

north, below the IJ

responsibility,

there are mutual trends, such as the

River

greying society, urbanization and the

Station, to the south

growing importance of the contractor,

of

to

change

this

contextless living culture in Japan?

‘Well, I think it is rather the inhabitants’

18

responsibility.

subway

and

line,

Central

Amsterdam.

As

they

that are causing both countries to

the building costs of

aren’t aware of this phenomenon,

end up in the same boat. These

the project went way

change will never happen. People

similarities inspire Moriko even more

over budget (initially

have to want and implement this

to organize symposiums, like the one

stated at 700 million,

change in their current way of living.

in Amsterdam about Tokyo, in which

but in fact running to

The problem is that Japanese citizens

both

Netherlands

3.1 billion) and long

only look at this issue from their own,

are being assessed thoroughly. This

delays were inevitable,

house-owner point of view. To start

symposium explained that dealing

this has had a negative

thinking about a way of living within

with these occurring trends using

effect on Amsterdam

a certain context, allowing for the

top-down

p o p u l a t i o n ’ s

streets, makes them afraid of losing

construction

control of what’s theirs. But what is

line 2 in Amsterdam, is as inevitable

government.

very interesting about urban design is

as it is unnecessary. To combat the

Bart Dirks and Marcel

that, if your dwelling is placed on a good

shrinking

van Lieshout, ‘Noord-

street, this will increase its real estate

Moriko states that there is a need for

Zuidlijn

value

Unfortunately,

very big top-down interventions as

geopend:

most of the time Japanese citizens

well as some small bottom-up ones.

heeft veel gevraagd van

doesn’t think that far. And if the

The government tends, mainly due

de

Amsterdammers”’,

people are not fully aware of this fact,

to financial reasons, to step away

de

Volkskrant

they cannot understand the problem.

from these problems, therefore it is

(2018)

In the Netherlands and Amsterdam,

now up to the citizenry, says Moriko.

www.volkskrant.nl/

most inhabitants are aware of this.

Change has to come from people’s

nieuws-achtergrond/

Everyone recognizes the importance

interventions. No more waiting for

noord-zuidlijn-

of, and talks about, living in a “good

the government. It’s a matter of the

officieel-geopend-

neighbourhood”.’

people’s responsibility.

deze-lijn-heeft-veel-

significantly.

If

A

Japan

and

the

interventions,

of

of

the

towns

like

the

North-South

and

villages,

One can state that the Japanese

According to Moriko, the role of the

and Dutch building culture differ

architect or urbanist in this story is a

significantly. According to Moriko,

very important one. An example is a

confidence

in

the See:

officieel “Deze

lijn

https://

gevraagd-van-de-

3. Ryo Yamazaki first

good friend of hers, Ryo Yamazaki 3 ,

worked

design

who has taken this role very seriously.

offices for architecture

Originally educated as a landscape

and

landscape.

For

designer, he has now taken a different

one

assignment

he

path in his career. One that comprises

was

asked

at

the

facilitating between people, entire

park management of

communities and built environment

Arima Fuji Park

by

to

professionals, including governmental

set up a system that

departments. With his office, Studio

would allow the park’s

L, he seeks to identify the potential

staff

to

of an area and its people, which

operate

results in the reorganization of entire

programmes

communities . This new genre within

members

create

and

the

themselves.

This

urbanism, as Moriko calls it, aims to

the

create consciousness among people

community

about their living conditions, more

rather than designing

importantly about the steps needed

the facilities himself

to improve them. In Moriko’s opinion

sparked

facilitators like Yamazaki are exactly

management park

of

his

interest him

what many communities currently

of the importance of

need: ‘privatized’ rijksbouwmeesters

the

empowerment

(Government Building Agencies). She

of

communities.

stated: ‘People can become aware of

and

convinced

in

their way of living, your role as an

today’s world people

architect or urbanist or landscape

easily tend to ignore

designer is to make them aware.’

the human connection.

Consequently, just a small push in

See:

’01.

the right direction by an engaged

Trigger’ (2019) http://

professional can cause people to

www.studio-l.org/

pause their busy lives for a moment

en/about/index.html.

and

Especially

since

Studio-L,

think

about

how

they

can

enhance not only their living space, but ultimately their way of living.

‘People can become aware of their way of living, your role as an architect or urbanist or landscape designer is to make them aware.’

19

PAST THE ERASMUS BRIDGE Conversation with Machteld Kors Ananda Jaganathan

The past 50 years have shown that

reinterpretation

has

been

imperative for Dutch architecture firms, especially when thrust into precarious moments. In the midst of economic crisis, climate change and social conflict it has been apt for firms to redefine the boundaries set

by

regulations

and

design

briefs. While tender regulations have outlined the prerequisites of a project, design briefs have marked what society finds relevant at the time. These aspects have always been part of the architect’s agenda to scrutinize and unravel.

In the course of projects, they are dissected into the requirements, the scope and the limitations of said projects.

In

this

Machteld

exploration, Kors,

the

we

asked

director

of

communications from UNStudio, how

developed into a knowledge-based practice that focuses on collaborative design.

31 years has transformed the way

Another shift is illustrated by the

the firm approaches procurement

reassessment of the term ‘icon’, which

processes. UNStudio, in a way, is

characterized the pre-crisis condition.

a testament to how Dutch firms

In the last decades, icons were used

have stood the test of time. From

to build city skylines. This practice

the moment of being established

quickly saturate the market with

in

Bos

prominent buildings, even before they

Architectenbureau to being renamed

1988

as

Van

Berkel

en

were built, especially with the advent

as United Network Studio and later

of digital renders.1 The needs of these

1.

Ben van Berkel

with the creation of UN network

kinds

&

Caroline

Bos,

Asia, in 2009, it has allowed itself

were immediately questioned in the

of

non-contextual

buildings

matters

to grow and, eventually, become

volatile economy. The insight that

( Amsterdam: Frame

immersed in building cultures around

Kors gives is as follows:

Publishers,

the world. We are therefore curious

Knowledge

2016).

about the invisible scaffolds that have shaped the firm over the past years.

This essay explores the disciplinary transformation, the manner in which procurement procedures have been adjusted to accommodate changes in society.

Shifting practice The architecture of before and after the financial crisis is exemplary of the role the architect and the practice play in an inventive economy. It marks a shift in the field of architecture, from a call for architects to create distinct forms, to a call for responsible architects, focusing on affordability,

‘As the firm evolved, our ideas also slightly shift. It has not merely been about building an iconic building, but it is about building places that people can identify. Some projects are completely integrated into the context, while others are explicitly visible. It very much depends on the project.

Sometimes a project really needs a big gesture and a noncontextual element. Although it is still contextual, it just does not appear to merge into one style.’

sustainability and attainability. With these changes and the introduction of Knowledge Platforms, UNStudio has

21

More than two decades ago, the

from the market to build quickly and

ambition for the Erasmus Bridge

economically. The larger European

2.

in Rotterdam was not just to build

firms hit by the crisis were forced to

Building the Erasmus

a bridge, but to build a legacy. In

become more resourceful.

Bridge

Process

of

(2018).

a note written in 2018, Ben van

Kors reflects on how architects have

h t t p s : // w w w .

Berkel concludes that ‘architecture

intrinsically responded to the cycles

u n s t u d i o . c o m /e n /

is not about trying to create iconic

of crisis from the 1980s to 2019. In

page/11262/the-

images, it is about how a structure

the post-crisis climate, there is a need

process-of-building-

can communicate with its users’. 2

to apply what has been learnt in the

the-erasmus-bridge.

This is what Kors reiterates as ‘places

previous downturns; there is a need

3.

people can identify’. The maturing of

to combine the resourcefulness with

&

the firm has led to the alterations of

contemporary design. Today, we see

Knowledge

these once prolific terms. In the book

a shift from a quantitative approach,

( Amsterdam: Frame

Knowledge Matters, UNStudio argues

defining

Publishers,

that though ‘the global financial crisis

typology of a building, to a qualitative

may have temporarily slowed down

approach, distinguished by the values

the hysteria towards the iconic, the

important to the client (i.e. human-

core economic model that simulated it

centric

has remained unchanged’.

criteria). Terms like ‘sustainability’,

In the dialogue with Machteld Kors,

the

function,

values

‘circularity’

used

and

form

as

and

selection

‘integration’

used

it becomes evident that the period of

in design briefs, in line with these

crisis was an important point in the

values, have allowed innovation. Kors

European tender culture. There has

argues that predefined conditions in

been a transition in the way briefs are

the architect’s brief stifle innovation,

written by clients and the way they

limiting the room for improvement,

are approached by architecture firms.

research

The pre-crisis period, characterized

The

by

procurement

a

procurement

climate

that

and

experimentation.

qualitative

approach

process

strategically

the

forced

UNStudio

several of today’s larger firms, such

towards defining pitches of more

as OMA and MVRDV, to thrive. The

human-centric design solutions Moreover,

to

in

has

stimulated young talent, has allowed

regulations, prior to the European

22

The

the

presence

shift

of

a

directives of 1993 and, subsequently,

collaborative design approach has

of 2004, gave them the opportunity to

also been imperative in meeting the

build a portfolio of innovative work.

qualitative standards. Kors beings by

However, projects realized during

describing how architecture teams

the crisis were a result of pressure

have diversified over the years. Both

Ben

van

Caroline

Berkel Bos, matters 2016).

the built environment and non-built

their

environment

played

immense experience through working

crucial roles in the guise of advisors

on impactful projects, despite being

and consultants. In projects such as

young firms. This, in combination

the headquarters for Booking.com,

with the lenient European tender

in Amsterdam, the extensive group

regulation,

of advisors has enabled a design

requirements with regards to project

that is not only woven into the urban

references, created the ideal condition

fabric but also incorporates different

for firms to experiment with designs.

systems (air circulation, water, thermal

This said, Kors takes us back to what

comfort, sound and mental wellbeing

it was like when Ben van Berkel first

to speak of a few). In projects outside

started:

experts

have

of Europe, for example, the Karle Town project in India, partnership with local firms has provided insight into the current economic, political and regulatory framework of the situation. Both instances prompt that dialogue and exchange with diverse groups give shape and direction to the design and the design process.

Expanding borders Kors asserts that the way the practice

of

architecture

has

developed over the years has both its shortcomings and strong points.

The former is a consequence of the European directives being held in such high regard and having contested

life

cycles,

they

demanding

garnered

fewer

‘Ben van Berkel got the opportunity to work on the Erasmus Bridge when he was 32 years old. And that was possible simply because of Riek Bakker, who was the head of the Urban Planning Department in Rotterdam at that point. She was striving for something new and fought for a budget for innovation. She convinced the city to invest in a bridge with great design value and feasibility and to commission someone with no proven experience with building or designing bridges.’

interpretations across Europe. On the other hand, the latter, in the

After

the

uncertain

period

of

Netherlands, results from a myriad of

the crisis, what ensued was the

firms, an architectural landscape with

reinforcement

an amalgam of firms of different types

regulations that deemed a reference

and sizes. As the firms established

portfolio necessary for participation

amid the 1980s advanced through

in competitions. List of projects that

of

the

European

23

24

were similar to the new assignment

Kors’s answer can be summarized as

acted as proof for the firm’s technical

analysis, planning and diversification.

abilities. This, initially, done in the

She underlines that developing the

hope of creating an even playing

firm’s portfolio in this sector has

field, however, resulted in certain

been built up in gradual steps over

groups of firms being filtered out,

the scope of 15 to 20 years. The

namely the newer and financially

firm starts by analysing the current

vulnerable firms. In such conditions,

needs and the possible opportunities

Kors argues practices such as Gina,

in the local and global context. This

a collaborative group that combines

is followed by a prognosis of the

efforts for a project, are instrumental

company’s position and achievements

in bringing alternative opportunities

in the next 25 years. This global vision

to firms stuck in the anticipated

is then dissected into a map of all

reality. Through the alliance of firms

the smaller, more achievable tasks.

of different sizes, newer practices can

Consequently, in this global vision of

meet the requirements for a project

designing for the health-care sector,

by using references of the more

UNStudio defines the need to first gain

experienced practices. In such cases,

awareness, which is then followed by

close collaboration can help firms

participating in smaller-scale projects

develop their portfolios and also gain

to hone the prerequisite skills. In

a footing in the building market.

doing so it can be recognized for larger

Regulations like these have forced

and more exclusive commissions in

firms to pick, engage and persist in

this field. This development of the

specific niches, that over time become

health-care

hard to penetrate. Kors mentions

improves the quality and efficiency of

that UNStudio is endeavouring to

designing. Nevertheless, not all firms

Carmela

delve into the health-care sector.

can break this predetermined mould.

&

Such

claimed

It is also becoming harder to acquire

A rc h i t e c t u re

by a selected group of firms with

projects that already have a sphere of

competitions

years of experience in the design of

influence.

the

projects

are

often

portfolio

progressively Jean-Pierre Chupin, Cucuzzella

Bechara

In another instance, Kors explains

by juries to employ the same firms

that although it has been easier to

and

over and over again have resulted in

acquire international projects in the

international

European hospitals frequently looking

countries where the firm is established

(Quebec:

identical.

The

question

and

production

health-care facilities. The decisions

of

Helal.

culture,

quality

knowledge:

an

inquiry.

Canada:

becomes:

(China, Hong Kong, the Netherlands

Potential Architecture

How can a firm start to design in this

and Germany), it has been challenging

Books, 2015) 77 - 78.

sector without any prior experience?

to delve into projects in a European

setting. This is especially the case

procurement processes are a fair

as the tender culture differs broadly

manner of judging, it fails to take

within European borders. Kors, using

into account the importance of this

UNStudio’s attempt to gain entrance

collaborative facet.

to the Scandinavian market as an

These

disjunctures

example, explains that sometimes

procurement

language requisites tend to be a

resulted

barrier for international firms. In the

solutions. Part of the challenge is also

twentieth century, the Nordic welfare

accounting for the cost incurred over

states used architecture competitions

the preparation of an unsuccessful

as a way to harmonize socio-political

bid. Kors expands on the possibility

ideals. The presence of welfare goals

of providing financial compensation

and

in

and

between

a

call

practice for

have

tangible

as

for the requested design. These leaps,

language requirements, which are still

though small, are still commendable

prevalent in the programme briefs,

and need to be executed in order to

have acted as restrictions. In the case

encourage participation from young

of Sweden, where everyone on the

and starting architects. It is important

team is required to speak Swedish, the

to make the seemingly perilous waters

tender is often acquired by local firms.

more approachable.

other

prerequisites,

such

companies,

In hindsight, design competitions

the language permits required to

have been viewed through rose-

participate are just too expensive.

coloured glasses, with a fair, equitable

Moreover,

for

certain

Kors brings up another challenge in

and rational winner always being

the German procurement processes,

lauded. Though this may be true at

where

tender

first glance, it becomes important to

procedure is often a requirement.

look at the more obscure factors in

She argues that omitting information

the background. Kors answers that

of a firm’s identity is not the best

in combination with having a strong

solution since it denies the personal,

and visionary client-architect team,

communicative

inter-human

the building culture occasionally also

relationship required to run a large scale

needs to be opportunistic. UNStudio

project. In the end, Kors expresses,

has been shaped by the chance given

realizing a complex development can

to Ben van Berkel two decades ago

be compared to a marriage. Reliable

with the Erasmus Bridge. However,

and fluent collaboration between a

the standardized and blind procedures

client and an architect is essential to

of today do not necessarily provide

complex projects. While anonymous

the same favourable circumstances to

anonymity

in

and

the

25

young firms. Sometimes, concurring with the obvious choice may not necessarily be the best choice.

At the Crossroads In this account by Machteld Kors, we have looked at the procurement culture through the lens of UNStudio and a few examples that illustrate the culture shifts. It becomes clear that these experiences are always at the crossroads of political regulations, social norms and economic demands.

Even though we paint this fairly linear story, UNStudio has taken a slightly more tumultuous path over the past decades. However, what this series of anthologies provide, is at once an abstract yet vividly rich understanding of how the procurement process for architectural projects is approached, challenged and revitalised at a certain time and place.

Though the same path cannot be taken by firms established in this day and age, it can be viewed as a learning point for architects. How do you look past the architecture, to understand the

invisible

architects

scaffolds?

apply

How

aesthetics

can and

architectural concepts in procurement processes as a tool to convince and stimulate innovation? And finally, how can architectural institutions take the initiative to change the prevailing tender culture?

26

KNOWLEDGE & RESPONSIBILITY Conversation with Birgit Rapp Tomasz Dudek & Nick van Garderen

Rapp+Rapp

architects,

situated

in Amsterdam, is comprised of husband-and-wife team Birgit and Christian Rapp and was founded in 1999.

Cofounder Christian Rapp’s roots are what sent the office on an endeavour to Germany. Christian was born in Munich and not only studied in Delft, but also in Berlin, and he worked for both Otto Steidle and Hans Kollhoff.

Birgit and Christian decided to open a small office in Berlin in September 2007, in search of international projects for the Rapp+Rapp office.

Despite Christian’s German background, the venture in Berlin was still considered as a new and foreign office on the scene. Rapp+Rapp had to scout for projects, a quest that was not always fruitful. The office entered numerous competitions, one after the other, but encountered various troubles along the way that rendered

it unable to fully function on the Berlin

peting office realized?’ She offers Rap-

market. Though not as successful as

p+Rapp’s own experience with design-

hoped, entering competitions not only

ing or competing for school buildings as

in the Netherlands but also in Germany

an example. To date, the office has no

did bring some insights regarding the

experience in designing school buildings

nature of competitions and tenders in

in the Netherlands. Therefore, they are

both countries.

virtually prospectless when entering a tender that involves the realization of

‘Architecture is not objective, nor can it be objective. This nature of trying to measure architecture and making architecture objective is absurd. Architecture, in its very essence, is always subjective. Architecture is about emotion, it is about feeling.’

a school, due to their lack of references of previous, similar projects. Furthermore, the focus in the Netherlands on this ‘list’ of requirements that has to be met is distorted. According to Birgit, the requirements are aiming for the objectivation of the profession, a conflict at the very heart of the issue – such an approach addresses everything except the architectural value of the proposal. The problem with the Dutch approach lies in the three questions mentioned above.

The Dutch Debate One

28

of

the

biggest

Assessing entries in a competition on differences

the basis of quantitative questions that

between the two countries is the very

are, according to the philosophy of Rap-

nature of getting projects in the first

p+Rapp, not related to the architectural

place. According to Birgit Rapp, It is not

qualities, is the problem. The require-

extremely clear in the initial stage in the

ments are not about the architectural

Netherlands, and an extreme amount of

value of the entry, but about the track

requirements have to be fulfilled prior to

record of the architect and its economi-

participation in a tender or a competi-

cal attractiveness.

tion. In the initial stage there are a few

Rapp praises Germany’s longstanding

questions that are deemed of vital im-

and strong tradition of architecture as-

portance by the client: ‘The most crucial

signments. Rapp recalls the German ap-

points that are examined in Dutch

proach, with their specific programmes

tenders are: How much money can

for the participating offices to cater to. In

company/architectural office generate?

the competitions that the office entered

What is the size of the office? And how

in their German days, Rapp reminisces,

many comparable projects has the com-

the entries for these competitions were

‘The requirements in the German competition are clear and equal for all participants. The scale of drawing that is required and the amount of impressions that are wished to be seen are known beforehand which results in similar outputs that can be assessed on architectural quality. On the contrary to this Is the Dutch approach to the competition where there is no request for a design solution, for an architectural plan, but merely for a vision, regarding the design briefing. This renders the options for an entry limitless.” anonymized and assessed by an inde-

conceptual diagrams, to photorealistic

pendent jury of architects, urbanists

renders of nearly finished designs. This

and landscape architects, based on the

multitude of presentations of visions or

full scope of the submitted designs. The

designs makes it almost impossible to

clarity of the initial design briefing is in

assess and compare the results.

contrast with the vagueness that typi-

In the end, Rapp states, it is this

fies Dutch architectural briefings, result-

very nature of the Dutch requests that

ing in a very different output, according

creates a situation in which each com-

to Birgit Rapp:

petitor does way more than is expect-

‘The requirements in the German competitions

are

well-defined

ed or necessary to judge the ideas,

and

because the demands are not clear.

equal for all participants. The scale of

Those judging the multitude of ideas and

drawing is stipulated and the amount of

outputs then almost necessarily have

impressions that are required is clear in

to resort to the quantifiable questions

advance, which results in similar outputs

posed by Rapp earlier in the interview.

that can be assessed on their architec-

On top of this, the office chosen on the

tural merits. On the contrary, in the

basis of its abstract vision often comes

Dutch approach there is no request for

up with a completely new design for the

a design solution, for an architectural

execution – rendering the assessment of

plan, but merely for a vision, regarding

the submitted ideas almost impossible

the design briefing. This renders the

where architectural quality and value

options for an entry limitless.’

are concerned. Contrastingly, the clear

The limitless ways of approaching

design briefs in Germany result in similar

Dutch architectural briefings, according

presentations, similar products and thus

to Rapp, results in the submission of a

in situations in which the architectural

multitude of outputs. These can vary

value and quality of the entries can be

from texts, to sketches and drawings of

evaluated.

29

The Importance of Culture

submitted. Another difference between

Although the German endeavours of

these two countries is that in Germany

Rapp+Rapp were of a shorter duration

you are expected to participate in

than expected, and even though the

German with a German cultural and lin-

German branch of the office did land a

guistic approach.

project in Munich, the decision was made

‘Here in the Netherlands, it is quite

to close the office in Berlin and to move

common to have big competitions both

all activities, both domestic and foreign,

in English and in Dutch. I think that it

back to the main office in Amsterdam.

is much harder for a non-native office

But the experience of working both in

to explain or approach the design. In

Germany and the Netherlands, one that

the end, you do best within your own

cofounder Christian Rapp already had

culture. This does not mean, however,

prior to the German adventure, gained

that an exchange between countries is

the office al lot of experience regarding

not interesting, but the fact that it is in-

the industry in both places. This experi-

teresting does not necessarily mean that

ence reaches much further than merely

a competition should be internationally

the knowledge of the tender culture in

open for everyone to participate.

these two European countries.

‘If you participate in Germany, you’re

It is not just the architectural culture

expected to participate in German, with

of a country that sparks the creation of

a German cultural and linguistic ap-

good architecture, but the very culture

proach. Here in the Netherlands, it is

of the country itself. It is this culture that

quite common to have big competitions

sprouts legislation, eventually the organ-

both in English and in Dutch. I think that

ization and nature of the competitions

it is much harder for a non-native office

and tenders in a country. In Germany

to explain or approach the design. In

the proposals are judged by the jury

the end, you do best within your own

consisting of not only professionals

culture.’

related to the field, but also politicians.

Rapp notices that in smaller, more local assignments, more politics is involved,

30

tender and the presentation of what is

Increasing Knowledge

Responsibility

&

which is not a case for the Netherlands.

A remarkable portfolio of projects

Naturally, the product is a combination

in Belgium, gives possibility to further

of the culture of the country in which

explore cultural differences in another

the tender is situated and of that of the

neighbouring country. What strikes

participant. The approach to this vision

Birgit in Belgium is that the role of the

can be seen in the organization of the

architect is fundamentally different than

in the German and Dutch settings. While

is about communication and approach.

working on a project in the Belgian

The design may be the most interesting

village of Houthulst, Rapp+Rapp discov-

part, but for a majority of the time the

ered that the cultural approach to the

architect is dealing with managing the

architect and his office as the ‘Master

project, the client and all of the other

Builder’ not only allowed the architect

external factors that exert power on the

to have more influence on the design, it

project, such as regulations and financial

also brought more responsibility. Some-

strains. Each of these factors requires a

thing that is interrelated in all European

different approach and means of com-

countries.

munication. Dealing with this variety is

‘In Germany and Belgium, in different ways, the architect has more influence

thus, essential to the profession in the eyes of Rapp.

Birgit states that Belgium is one of

‘In Germany and Belgium, in different ways, the architect has more influence than in the Netherlands, but at the same time has more responsibilities. It is the amount of responsibility that makes a difference in regards of the influence and amovunt of decisionmaking of the architect.’

the few countries left in Europe that celebrates the craftsmanship of the construction sector, from bricklayer to architect. This in combination with the increased influence and responsibility that the office met in Belgium is something that Birgit Rapp advocates. At the same time she points out that, since the

than in the Netherlands, but at the same

approach to the profession is one that is

Master

time has more responsibilities. It is the

deeply rooted in the culture of a nation,

Builder an architect must

amount of responsibility that makes a

it is not easily adopted in other coun-

not only be possessed

difference in regard to the influence

tries:

of

and amount of decision making that you

“To

become

the

a

theoretical

knowledge of engineering

have as an architect.’

‘Every system has its pro’s and contra’s, however, it is a culture that cannot

of

It is this higher level of responsibility

be changed overnight. Consequences

the details of building

and influence that lies at the heart of

of such a change need to be examined

construction,

must

Rapp+Rapp, an office that prides itself

beforehand and a clear starting point for

become the devisor of

on its preference for an artisanal ap-

this change needs to be defined. In the

methods of construction.”

proach. Rapp believes that the architect

end, it is a process of changing a lot of

Annual

Convention

is not just a tool for design, but the leader

minds in a country, not to mention the

American

of the project. Managing such a project

legislative and governmental aspect of

is what differentiates a good designer

this discussion. Change won’t come fast,

from any ordinary designer. The design,

but if it were to come, it would have to

and the role of the architect in this case,

start from education, flowing into prac-

and

of

a

knowledge

the

het

31

tice.’

is one that is both personal and cultural.

pointed part-time professor at the chair

‘The building tradition is a cultural tradi-

of Architectural Design and Urban Cul-

tion. The cultural tradition of a country,

tures at Eindhoven University of Tech-

in combination with your personal tradi-

“The

nology in 2007, after having taught as

tion, is really important.’

architekton

has

been

assembled

from

two

original

word

a guest lecturer at various schools of

Knowledge of tradition and history,

architecture in both the Netherlands

both architecturally and culturally, is the

words with each their own

and Germany, so Rapp+Rapp is not un-

pillar upon which Rapp+Rapp aims to

meaning: tekton ‘builder’

familiar with this rooting of great archi-

build its designs and that is advocated

and archi ‘chief’, thusly chief

tecture in education, eventually flowing

by Birgit Rapp.

builder.”

Four

historical

into practice. It is in education, states

‘Being aware of a cultural and archi-

definitions of Architecture

Rapp, that the spark of interest in design

tectural history helps the architect. Fig-

– Stephen Parcell (Page 24)

is created. To the very essence of the

uring out why and how change within

profession – and especially in regard to

the field and subject has come about

the ‘Master Builder’ approach – it is ed-

is vital. Understanding your own back-

ucation that is of vital importance. This

ground against a more general cultural

knowledge, according to Birgit Rapp,

background helps in dealing with the

should not be limited to the knowledge

given situation in a project. It is knowl-

of designing works of architecture:

edge that makes you capable of influ-

‘Knowledge about design, about the building process and materials and the

encing the design and the process as a whole.’

use of materials are of the essence. Stu-

Regarding the Dutch tender culture,

dents need to learn about the needs of

any change towards an approach with

materials, the works of materials and

more responsibility and consequently

processes, perhaps even production

more influence for the architect is some-

– this is essential to becoming a good

thing that Rapp+Rapp wishes to happen,

practitioner.’ This knowledge stretches

but the change can only be achieved

even further than the tangible aspects

gradually through the education of

of a single project. It is the entire ap-

future generations.

proach to the building tradition and the interpretation of it that forms a key part of the knowledge that is necessary to create valuable architecture within a setting that gives architects more influence – and at the same time more responsibility, such as in the Belgian or

32

German model. This building tradition

Cofounder Christian Rapp was ap-

THRIVE WITHIN AN (IMPERFECT) SYSTEM Boris Koselka & Fenne Jansen

Since Atelier Kempe Thill’s 2008

involvement of big construction

was

publication Naar een nieuwe Aan-

companies increased, so, too, has

ironically has systems inspired

bestedingscultuur

the importance of building quickly

by those from the Netherlands.

and cheaply.

Variation in combination with

(Towards

a

New Tender Culture), there have

that

of

Belgium,

which

been no substantial changes re-

We have observed that this

garding the problems with Dutch

is not directly caused by the

from

tender regulations. Kempe Thill

EU

by

flourishing development. Taking

hoped to mobilize architects to

the

specific

interpretation

this lesson and reflecting back

fight these issues, but this did not

and

implementation

happen, as that would have been

the

in conflict with their direct commercial interests.

Dutch culture. Regulations are

the original problems noted by

implemented differently by each

Atelier Kempe Thill. In attempt

EU

country, making it too complex to

to

regulations, therefore continued,

predict all of their consequences

failure, variety was decreased and

and architects kept reinforcing

and implementations.

creativity was stifled. Without

The existing tender culture, based

on

uniformly

set

regulations,

but

more

critical reflection and learning successes

can

lead

to

within

upon the Dutch building culture,

sector,

the first issue becomes apparent.

which is ultimately related to

The lack of variation was one of

Dutch

building

reduce

the

possibility

of

them. The problem with these

The EU tender regulations are

variation, there are no successes

tenders is that they not only

meant to guarantee universally

and no failures – which in turn

require

and

safe buildings and fair practice.

stops

extended portfolios from their

broad

experience

The system of EU regulations is

furthering development.

participants, but that they also

uniform in its implementation, but

Archiprint’s exploration of the

contain prerequisites concerning

can be interpreted in various ways,

problem does not possess the

high

turnovers,

a

which can lead to both failure and

scope to improve the complex

safe

investment

to

ensure

critical

reflection

from

environment

successes. Although not everyone

system of European regulations,

for clients. This especially puts

agrees that the Dutch building

or

young,

starting

even

the

national

Dutch

architecture

culture is in disarray, there does

regulations. Our main interest was

firms in an unfavorable position,

seem to be a gap between other

the architect’s point of view, and

which will ultimately result in

cultures that are often said to be

how architects function within

a stagnation of innovation and

flourishing. One that has come

the existing system.

a curbing of creativity. As the

forward in every single interview,

Atelier Kempe Thill has directly

33

taken up the fight, trying to voice

their ability to make people more

responsibility directly with the

its opinions on the current state

aware, and facilitate between

practicing architect. Its approach

of architecture. Oliver Thill and

commons and the government.

towards the tender problem is

AndrĂŠ Kempe take a rather activist

Machteld

Kors

based

on

educating

the

new

approach, educating their fellow

seems to have the most pragmatic

generation of architects, diving

architects by communicating their

view on the current state of

deeper into practice in order to

discord with the legal system.

architecture.

make an attempt to solve the

They recognize the problem and

the perfect system does not

are actively working to change

exist, but that this does not

it. They do, however, also believe

negate the possibility for good

regulations in order to achieve

that part of the problem, or at

architecture, as creativity thrives

a perfect set is not something

least a possible solution, lies

under hardship. Kors recognizes

that is likely to happen. Different

with

the

architect.

Not

She

states

that

tender problem.

Altering

these

only

the difficulties that Dutch tender

stakeholders

regulations can create for younger

interests, preferences and goals.

change, so that they stop coping

and smaller firms. She suggests

However, if we shift our focus

within a flawed market system,

that smaller offices should gather

to the architect and on how he

but architects also need to be

their powers and work together

or she could thrive within an

more educated in legal matters.

on projects in order to gain a

(imperfect) system, we can create

Architecture as a profession is

foothold. During the interview she

the opportunity to improve the

more than just architecture.

clearly illustrates how UNStudio

conditions of the practice.

the problems with and effects of Dutch tender regulations, but

manages to thrive within the system.

Rapp+Rapp

has

the

tries to work around them. She has

opinion

worked herself into a position that

tender

allows her to accept and decline

recognizes

commissions of which the system

architecture may have lost some

would diminish the architectural

of its acclaimed allure, but this

quality of the building. According

does not mean that it stopped

to

functioning

Moriko,

the

dictation

of

opposite

mildest

the Dutch

problem.

The

that

well.

Birgit

office Dutch

Rapp

top-down interventions must be

puts the problem in perspective

replaced by the rising bottom-up

by putting Dutch tender culture

practice. The first step in this

in a broader context, depending

process is to create awareness

on the bigger goals for which it

among the population about its

functions. Rapp+Rapp recognizes

living situation. Architects play a

the problem, but does not directly

significant role in this step, due to

fight the system, nor does it lay

have

uniform

should the mentality of architects

Moriko Kira also recognizes

34

UNStudio’s

different

BIOGRAPHIES Tomasz

Dudek

(1997)

studies

Fenne

Jansen

(1999)

studies

Architecture at Eindhoven University

Architecture at Eindhoven University

of

small

of Technology and is the current

background in Civil Engineering , his

Technology.

With

a

Managing Editor of Archiprint. She

interest spans now art, culture and

grew up in an inspiring environment

technology.

with

her

grandfather

being

an

engineer and aunt being an interior

Nick van Garderen (1995) is a master

student

in

Architectural

Urban Design and Engineering at

architect. While following in their footsteps, she is developing her own vision on the built environment.

Eindhoven University of Technology.

With interests both in Urbanism

Dominika

Kopiarova

(1997)

and Architecture, he opts for a

studies Architecture at Eindhoven

combined track of Urban Design

University of Technology. She finds

and Architectural Design within the

her inspiration in the blurry boundary

faculty.

between

architecture,

art,

and

literature.

Ananda Jaganathan (1999) studies Architecture at Eindhoven University

Boris

Koselka

(1995)

studies

of Technology. Her earliest memories

Architecture at Eindhoven University

of architecture come from Indian

of Technology. During his studies, he

temples and has grown alongside the

was part of the 10th board of AnArchi

urban-scapes of Mumbai.

as the Managing Editor of Archiprint.

35

Friends of Archiprint

Archiprint - Expanding Profession December 2019 // Issue 15 Eindhoven ISSN 2213-5588 Journal for architecture, created by students and graduates of the Department of the Built Environment, Eindhoven University of Technology and study association AnArchi.

Editor-in-chief

Boris Koselka Nick van Garderen

Managing editor Fenne Jansen

Editors Nick van Garderen, Ananda Jaganathan, Boris Koselka, Dominika Kopiarova, Fenne Jansen, Kendal Varolgunes, Tomasz Dudek Writers Nick van Garderen, Ananda Jaganathan, Boris Koselka, Dominika Kopiarova, Fenne Jansen, Tomasz Dudek Advisory committee Bernard Colenbrander, Jacob Voorthuis, Juliette Bekkering, Hüsnü Yegenoglu Design Dominika Kopiarova Cover design Ananda Jaganathan Copy editor D’Laine Camp Printing Meesterdrukkers, Eindhoven Publisher AnArchi Vertigo, Groene Loper 6 5612 AZ Eindhoven The Netherlands archiprint@anarchi.cc

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