Archiprint 8 - The Ideal Profession

Archiprint December 2015 \\ Volume 04 \ Issue 02

AnArchi is proud to present to you the eighth issue of its architecture journal Archiprint;

The Ideal Profession As Study Association of the master Architecture at the Eindhoven University of Technology we strive to explore the current architectural polemic and contribute to it by means of the written word.

Editorial Whether you are an architecture student or

as possessing special knowledge and skills in a

the existence of all these different ethical

an accomplished practitioner, chances are

widely recognised body of learning derived from

standards.

that over the years you have been battered

research, education and training at a high level,

with the same strong conviction that

and who are prepared to apply this knowledge

So how plausible is the conviction that

troubles the entire world of architecture:

and exercise these skills in the interest of others.’

the architectural profession is changing?

1

‘The architectural profession is changing . . .’

This eighth issue of Archiprint is entitled Beaton’s

definition

distinguishes

three

‘The Ideal Profession’. It does not aim to

It’s a rather dubious conviction. Of course

ingredients;

it is not hard to see that the challenges

execution of a profession. In the context

by calling it ideal, but rather questions the

that architecture faces today are vastly

of the architectural profession the first

balance between the way our profession

different from the ones it had to deal with

two are relatively obvious. First of all the

changes due to our ideals, and the way

a century ago. We have explored, invented

conditional

architectural

our ideals change due to the profession. Its

and innovated, which has resulted in new

profession relies on knowledge and skills

theoretical framework explicitly explores

challenges that allowed us to explore, invent

acquired through research, education and

each of Beaton’s professional ingredients,

and innovate some more. It’s a cycle, and it

training. Secondly, Beaton’s suggestion of

varying between accessing, maintaining and

is as deeply embedded in the very nature of

applying and exercising these skills as a way

executing the architectural profession.

architecture as it is in any other professional

of maintaining the profession implies that

discipline. So does this prove that our

the earlier explained cycle of exploration,

discipline is actually changing, or just that

invention and innovation is indeed inherent

the architectural profession is a phenomenon

to the architectural discipline.

of dynamic character - rather than static?

access-,

access

maintenance-,

to

the

and

romanticize

the

architectural

discipline

Teije Hartman

The third ingredient is, however, doubtful Having

being

in the context of the architectural profession.

professional in something. It suggests

a

As a way of executing a profession, Beaton

a

societally

profession

means

difference

implies the need for a set of ethical standards.

between amateurism and professionalism.

acknowledged

Of course, no architect should make a

In his essay ‘Why Professionalism is Still

building that could suddenly collapse,

Relevant’, Melbourne University professor

but there is more to architecture than just

Dr. G. Beaton denotes the exact ingredients

making buildings that last. It’s about the

for this difference to exist:

spatial organization of a society and as many architects think about this organization

‘A profession is a disciplined group of individuals

differently, they practice different sets of

who adhere to ethical standards and who hold

ethical standards. In architecture it could

themselves out as, and are accepted by the public

very well be that innovation relies on

1] Beaton, G. (2010). Why Professionalism is Still Relevant. Retrieved November 2015, from Beaton Global: http://www.beatonglobal.com/pdfs/GeorgeBeaton_Why_ professionalism_is_still_relevant.pdf

Contents

8

From Tree Huggers to Money Makers An Interview with Werkstatt Margit van Schaik

12

Battling for Beauty

17

Ideals in a Changing World

21

Critical Considerations

26

Between Commerce and Creativity

30

Shifting Dynamics in Professional Reproduction

35

The Obedient Architect

Michiel Riedijk and Juliette Bekkering Discuss the Profession Luuk van den Elzen, Daan Jenniskens

A Conversation with Marc Koehler Daan Jenniskens, Justin de Witte

A Discourse on the Future with Ben van Berkel Nima Morkoรง, Max van der Westerlaken

On the Initiative of Broeinest Margit van Schaik, Max van der Westerlaken

An Interview with Will Hunter Teije Hartman

On the Value of Academic Education in the Architectural Discipline Jesper Baltussen, Margit van Schaik

1

From Tree Huggers to Money Makers An Interview with Werkstatt Raoul Vleugels (1985) and Niels Groeneveld (1985) graduated as architects in 2009 and 2010 respectively. After that, Raoul worked with Laugs Bouw, a renovation firm that explored the possibilities of working with natural materials. Niels worked at architecture firm Paul de Ruiter, where sustainable building is one of the points of attention.

In 2013, they decided to use their shared vision on sustainable building and work together in their own firm Werkstatt.

Written by: Margit van Schaik

help

you could have an enormous impact. For

Niels: It is a logical combination, simply

architecture firms to find commissions? And

some firms, building sustainably leads to a

because humans themselves are natural,

does competition, especially in the period

strategy based on high-tech installations that

their interaction with natural materials

after the economic recession, jeopardize

keep the energy usage as low as possible.

therefore works well. Artificial materials

the

Does

holding

certain

ideals

carrying

In my previous work I noticed this did

like PUR or plates with formaldehyde are

them out? Archiprint elaborates on these

not work well. I realized we should take

toxic for both the environment and human

questions in an interview with Werkstatt,

a few steps back, looking carefully at the

beings. However, these substances have

an Eindhoven based architecture firm led

materials we use, and therewith improve

become part of almost all interior climates

by the young architects Niels Groeneveld

the sustainability of architecture. That’s

nowadays. Wood-wool, flax-wool or hemp,

(1985) and Raoul Vleugels (1985). By means

why I started to investigate the techniques

on the contrary, are natural materials that

of ecological materials, they work on

of ecological materials and found out that

you can touch without your skin getting

environmental-friendly building projects

a breathing envelope makes it possible

irritated or any other negative reaction of

and generate an alternative route to

to

your body.

sustainable architecture.

environment; one in which it is possible to

architect’s

capability

of

create

a

much

more

comfortable

simply open a window and in which fresh

What does the ideal of Werkstatt encompass

air and the interior climate are not regulated

exactly and how did it arise?

by a machine.

Raoul: I think ideal is not the right word, I

So you claim to design better living

would rather call it a vision. Our vision is

environments by using ecological materials,

the result of our wish to build in a way that

how does that work?

Ecological materials together with craftsmanship help us to create good living environments.

pays special attention to three things we feel strong about: craftsmanship,

comfortable

Raoul: We do not use the word ecological

dwelling and awareness of the environment.

so much, though. We rather call it ‘natural

How does this vision help you to get new

These three pillars have led us to building

design’, because the ecology is only one

commissions?

with ecological vapor open materials, using

aspect of our vision. We try to keep the

a breathing envelope to create a comfortable

user in a central position during the

Niels: I think we achieved about half of the

living environment.

design.

together

commissions because of our clear vision.

Ecological

materials

with craftsmanship then help us to create

Some people decide to build in an ecological

Niels: As an architect, you are at the

good living environments. We feel there

way and then decide they come to us.

beginning of a long chain of processes

is less and less attention being paid to

Nevertheless, you still need to network in

responsible for more than half of the CO2

these fundamental qualities in architecture

order to make people know about you. In

emission and energy usage in the world.

nowadays.

this sense our vision helps us too, because

If you use this role to change some things,

it tells people who we are and makes them

9

10

remember us. We notice that people actually

in terms of space. This showed how we just

vision not only influences what you see,

like a very clear point of view that does not

could not compete with contractors.

but more importantly what you feel inside

allow for discussion. Our way of working is

Another difficulty is our lack of reference

the house, and even the way it smells. That

a precondition; we do not change it in order

projects. Most architects show reference

is a difficult thing to communicate, and

to keep our clients.

projects of themselves at the first meeting,

therefore we often send them to our former

but at this moment this is not yet possible

employee in Limburg to experience vapor

for us.

open architecture. That is also why we are

A precondition could also work against you in the sense that it deters clients who want something else. Did this every happen to you? And if so, how do you act upon that?

Raoul: Yes, at one point we met with a potential client who asked us to think about a farmhouse. But their ideas were so far away from ours and before we had discussed

now working on a project for Raoul’s house

Our way of working is a precondition; we do not change it in order to keep our clients.

in Leenderheide, in which we would like to create a bed & breakfast so that people can stay there for a night to know how different it feels.

Your vision thus plays an important role in the acquirement of your commissions. Are you in that sense an exception, compared to

it between the two of us we could say that

other offices?

we would not do it. There was a small budget and we noticed they were looking

Niels: Indeed, sometimes we notice we have

for someone to tell them exactly how much

to show a lot of reference projects that are

Raoul: Obviously there are a lot of firms

it would cost, and get the maximum out of it

not actually ours. The problem is that our

with a strong story, like Paul de Ruiter,

[1]

Peter Zumthor or OMA. They have a strong

And besides, it also gets more important to

vision and because of that they have work.

show you have a clear vision, so that people

But other than that, there is the grey mass

know they can trust you. People take more

Raoul: Of course you never know what

of architecture firms without such a strong

time to think about the decisions concerning

the future will bring. Maybe in ten years

story, who could accept any commission. In

what they want, for it is not guaranteed

we will look back and see that what we do

a certain way we need our vision to contrast

nowadays that a house will increase in value

today were only the first steps in our way

ourselves with these firms, because often

over the years. Clients build these houses for

of building. Maybe we have changed our

they have more experience and are more

themselves, not to sell them in a few years as

complete way of thinking, although I do not

professional than we are. We need something

was done before the recession.

consider that very likely to happen. At least for now it is our vision that makes people

else to stand out. That is something that goes for most young offices I think, we need

Is your way of working based on these recent

to choose something and make clear to

developments in the discipline?

choose for us.

Niels: I think that is an important part of

ourselves who we are.

In a certain way we need our vision to contrast ourselves with these firms, because often they have more experience and are more professional than we are.

buildings!

Niels: Yes, and this is quite interesting,

being a young architect: having a vision that

because ideas like ours often arise from

older architects might not. It might be na誰ve,

crises. If there is no crisis, then there is no

but at this point it seems like our role to have

incentive, no reason to come up with a

a certain do-good mentality.

new vision. However, our vision has not so much arisen from the economic recession, but

Raoul: And it is not like we think we can

from a crisis that we saw developing in the

change the world entirely, but it is important

building sector.

to try to make some mental changes.

That is rather remarkable. Times of decay

Niels: True, we are part of a transition. Start

may suggest expressing a certain ideal

with a Prius, then comes the Tesla.

becomes more challenging.

Is the expression of a clear vision more

Niels: That is what everyone told us as

important and valuable now than it was

well, saying that maybe one project would

a few years ago, before the economic

succeed, but we would not be able to hold

recession?

on to it. But on the other hand it is the one thing that distinguishes us from other firms.

Niels: Absolutely, yes. Because the smaller

That does not mean we have never been

the market, the stronger the competition,

bypassed, one time we found out there had

and so the more important it is to stand out.

been put a piece of stone wool in one of our

1] Impression Bed & Breakfast, Leenderheide (2015). Image courtesy of Werkstatt.

11

2

Battling for Beauty Michiel Riedijk and Juliette Bekkering Discuss the Profession Juliette Bekkering graduated from Delft University of Technology in 1989, and went on to study at the Barcelona Polytechnic University, where she graduated in 1993. She worked for, among others, OMA and Neutelings Riedijk architecten, and started her own office in 1997. In 2005, she formed Bekkering Adams architecten with Monica Adams.

Bekkering has taught at various schools of architecture, and in 2013 she was appointed professor at Eindhoven University of Technology.

Michiel Riedijk graduated from Delft University of Technology in 1989.

In 1992, he formed Neutelings Riedijk Architecten with Willem Jan Neutelings. Riedijk has taught at various schools of architecture, and in 2007 he was appointed professor at Delft University of Technology.

Written by: Luuk van den Elzen, Daan Jenniskens

Juliette Bekkering and Michiel Riedijk

becoming larger. The knowledge economy,

JB: The use of clear and powerful forms is

both

with

and thus the increased knowledge of

indeed a returning theme in our buildings.

a strong presence of an ideal. In a

things related to building, has led to a

We observe two trends: on the one hand

conversation with them we discuss the

growing number of laws and regulations

there is the aforementioned demand for

role, responsibilities and capacities of the

on matters like building physics, structural

flexibility and the danger of neutrality,

architect within the context of the ideal,

calculations

but on the other there is the aim for public

the aesthetics that follow from it and the

Consequently,

of

buildings to generate encounters between

resulting functionality of the completed

consultants and specialists get involved

people and to accommodate social activity.

building.

in the process. In addition to this, there

This asks for powerful spaces that are

is now often the wish to think about the

strongly recognizable and have a universal

We want to start by reflecting on what

entire lifecycle of a building, which means

validity. A good example of this is De Rozet,

has happened over the last century to the

that post-construction maintenance also

with its continual staircase that creates a

profession of architect, in relation to the

has to be considered. All this has led to

public route through the whole building.

development of the Western world. Our

a large cloud of things that an architect

This staircase, this route, has been an

society has moved towards a knowledge

has to take care of and coordinate. The

enormous impulse for the entire city.

economy and we wonder what the results

lifecycle approach to building has also led

of this have been for the discipline of

to an increased demand for flexibility and

architecture. Has the knowledge economy

adaptability: a client will request that a

changed architecture?

theatre can also be used as a police office,

represent

an

architecture

and a

energy growing

performance. number

casino or parking garage in ten years. This Michiel Riedijk: One has to distinguish three

often leads to very neutral and anonymous

different sides of the architectural discipline

buildings, devoid of any character. It is a

here: the professional, the educational and

huge challenge for the architect to still find

the theoretical side. I think that those last

the specific qualities of such buildings, and

two have been relatively stable over the last

give meaning to them.

three millennia. Architecture as a profession however, has obviously changed. Although

The built work of both Neutelings Riedijk

I am not sure whether this can be attributed

and Bekkering Adams can be described

to the knowledge economy or not.

as an expressive architecture of clear and powerful forms. Can this be seen as a result

Juliette Bekkering: One of the biggest

of the changes that you just described? Has

changes in the profession of architecture

the knowledge economy thus perhaps led to

lately, lies in the increasing complexity

buildings that have a more comprehensible

of building and the fact that buildings are

social character?

[1]

13

14

MR: Another problem that architects face,

Venturi were all influenced by Popper.3

architecture, or make them happy, but I do

which is perhaps a result of the knowledge

They don’t see the ideal as something worth

believe that architecture can make people

economy, lies in the ongoing division of

pursuing anymore: in their eyes, a city can

unhappy. This is a large responsibility.

labour and specialization. The resulting

only be built in small, pragmatic steps, in

Idealistic plans like Broadacre City by

hyper-specialization is at odds with the

line with Popper’s thoughts.

Frank Lloyd Wright or the Plan Voisin by

nature of our profession: an architect is, in

Le Corbusier, however well-intentioned,

a sense, always a generalist. In the case of

JB: Ideals enable the architect to eliminate

automatically decided how people should

public buildings, one of the things that makes

all noise and get to the core of a project.

operate within the city. It is always necessary

an architect unique is the ability to create

In order to avoid a project becoming one

to be careful with this.

something very specific and characteristic,

big inextricable mess, you have to state

something distinctive that has a strong social

two or three very clear ambitions, and put

Bekkering Adams and Neutelings Riedijk

value for the city.

in every effort to achieve those. That is an

both aim to give identity to the communities

ideal. However, you have to be aware that

that will use their public buildings. This

In the context of the continually changing

architecture can have a large influence on

is quite a substantial claim. Is it ethically

discipline of architecture, is having an ideal

the user, especially in the urban context. I

justifiable that architects have this sort of

necessary in order to survive as an architect?

don’t believe that you can heal people with

power?

MR: I think that having an ideal is crucial in the design process, because with a design you always aim to improve an existing situation. Otherwise, there is no reason to build. However, the idea of aiming for an ideal has been heavily contaminated since the Second World War. Karl Popper, who wrote the influential book The Open Society and Its Enemies in 1945, rejects idealism and utopianism altogether.2 Popper states that all ideals and utopian thoughts are essentially suppressive and repressive, and are thus at odds with the neoliberal society.

And Popper has a point: if I have an ideal that is not yours, and I actively pursue this ideal, your ideal will thus automatically be under pressure. People like Colin Rowe and Robert

[4]

MR: A building should always be able to

everything is strictly determined in the brief,

about thinking very deeply about how you

cater to types of use for which it was not

the amount of square metres and the tight

can answer the question of a client with a

originally intended. De Rozet, for example,

budgets are already set, and everything has

twist or an innovation.

has a lot of surplus space. In these spaces,

a functional necessity. How difficult is it for

you can do whatever you want: you can host

an architect to realize his or her ideals in this

a public debate, have a Ping-Pong match,

context?

Architecture is about more than just filling in the programme in a set amount of square metres.

or maybe even play basketball. Another good example is the Esprit Headoffice by

JB: You have to cheat, as it were: if you know

Bekkering Adams. From a purely functional

all the regulations inside out, you can find

perspective, the stairs in this building are

the margins of what is possible.

too large. At the same time, these stairs form the backbone of the building: they can host

MR: I wouldn’t call it cheating, but rather

fashion shows or exhibitions there, and

tweaking.

the stairs connect the ground floor to the

phenomenon of ‘unnamed space’ in Dutch

So what is then the relationship between

central patio. In other words, these building

building regulations: if there is some space

a design concept, like the one you just

facilitate all kinds of use that transcend the

below a roof or behind a machine that is

mentioned, and an ideal? And can an ideal,

narrow pragmatic corset, giving a lot of

unusable, you can call it unnamed space.

or an ambition, also be a design tool?

freedom to its user. And I think that’s the

But you can also design with the unnamed

crucial difference between a good building

space, which will basically enable you

MR: I think that the design concept is

and a very good building.

to add useful space somewhere in the

the most powerful moment in the design

For

example:

there

is

the

building. You need certain discoveries that

process, in which the ideal is materialized.

JB: Another example: one of the fire

trigger a design. An architect formulates an

It is a difficult word however. In the beaux-

stations we designed has a large hall in

answer to the question of a client that will

arts tradition it was usually called the parti:

which to park vehicles. At the request of

accommodate his wishes. However, this

the crucial sequence of spaces that forms the

the volunteer firefighters, we designed this

does not per definition mean that this answer

essence of the design and makes everything

hall so it can also be used to play sports or

is also what the client expected it to be. A

around it of secondary importance.

have a party. These are the sort of things

good example of this is the Scheepvaart en

that are never specified in the brief, but

Transport College in Rotterdam. The client

JB: On the other hand: you can have a

architecture is about more than just filling

had found a location where they could build

fantastic concept, but if you don’t know how

in the programme in a set amount of square

a school of five storeys high. They expected

to materialize it, you still have nothing. A lot

metres.

that we would build a five-storey school,

of attention is always given to the concept,

but we ended up designing a 60-m tower.

as if it were a sacred principle, but merely

You describe the situation that architecture

This is what they wished, but not what they

having a good concept won’t get you very

currently finds itself in as a difficult one:

expected. Reinterpreting a commission is

far.

15

16

MR: It is, however, crucial to have an

MR: I think that most clients don’t really care

not sure whether seduction leads to a good

ambition, because it will enable you to

about the ideals of an architect. This doesn’t

building. It does, however, lead to certain

pursue a certain ideal situation. For example:

mean that you should just let go of all your

kinds of innovation in the way that these

if the building costs of a project go over-

ideals though. For example: there are a lot

kinds of buildings have to be constructed.

budget, and the client asks you to solve this,

of solar panels on De Rozet, and it also has

you will have to be pragmatic. If there is one

a green roof that buffers rainwater. This

JB: There is perhaps an interesting interaction

room in the building that you want to keep

was our ambition, from the perspective of

between the knowledge economy and the

the way you designed it at all cost, you have

sustainability. But to be able to do this, we

unnameable qualities of architecture. Why

to make concessions elsewhere, without

had to convince the client that it was a cost-

are certain spaces pleasant and why does

losing the original ambition.

effective decision, and that these installations

everyone want to be there? Perhaps architects

would pay for themselves in less than seven

pursue these unnameable qualities, and then

Has architecture become too much of a

years. So on one side we had the ambition

justify them with the knowledge they have.

visual discipline? In other words: Do clients

to make a sustainable building, and on the

There are, for example, a lot of projects that

come to your firms because of the beautiful

other there was the purely economic story

make use of thermal energy storage and

images they have seen, or because of your

that we told the client.

concrete core activation. This enables the

knowledge, methods of working, or strong vision instead?

MR: I think that our discipline is too strongly

architect to make beautiful high spaces,

Is this then the essence of the knowledge

without horrible things like suspended

economy? Creating a demand that leads to

ceilings. This basically means that you are

innovation, which will then make profit?

using the knowledge economy as an excuse

associated with its visual or representative

to create something beautiful, something

side. This is not a good thing: you can

MR: I believe that it is very important for

be a great architect by thinking of smart

an architect to develop knowledge and

solutions that don’t directly translate to the

strategies. In an educational or theoretical

MR: So in the end, the knowledge economy

representation of the building, or the image

context you can formulate this knowledge

is perhaps only meant for the pursuit of

of the city.

very

beauty?

precisely,

but

in

a

professional

with an unnameable quality.

situation you have to be very careful about JB: However, the trend of turning architects

expressing it. But if you actively develop

more and more into technicians is also

your knowledge, you are per definition

negative: we should not be the party that

being innovative, thus making you a part

makes sure that all elevator cores and

of the knowledge economy. The term

stairwells are aligned, and that the rentable

seduction economy is perhaps also very

area is as large as possible. The pragmatic

appropriate for our profession: an architect

side of construction shouldn’t take over the

like Zaha Hadid is successful because her

ideals of the architect.

work seduces, whether it is good or not. I am

1] De Rozet by Neutelings Riedijk Architects, Arnhem (2013). Photo by Scagliola/Brakkee. © Neutelings Riedijk Architects.

2] Sir Karl Raimund Popper (1902-1994) was an Austrian-British philosopher and professor, and is generally regarded as one of the greatest philosophers of science of the twentieth century.

3] Colin Rowe (1920-1999) was a BritishAmerican architectural historian, critic, theorist and teacher. Robert Charles Venturi, Jr. (1925-) is an American postmodern architect.

4] Esprit Headoffice by Bekkering Adams, Amstelveen (2009). Photo by DigiDaan. © Bekkering Adams Architecten.

Ideals in a Changing World A Conversation with Marc Koehler Marc Koehler was born in the Northern Dutch town of Naarden in 1977 to parents of Dutch-Portuguese heritage. He studied engineering at the Amsterdam School of Technology, urbanism at the Technical University of Lisbon and architecture at Delft University of Technology.

Koehler worked as a lecturer at TU Delft between 2004 and 2011, and founded his own design practice MKA in 2005. The Superloft concept that is discussed in this article was developed by MKA over the past four years. Koehler has discussed the changing profession of the architect publicly on several occasions, including during his lecture for the CHEOPS-organized Congress ‘Shifting Perspectives’ on 12 March 2015 in Eindhoven, and during his lecture for Bureau Europa on 2 September 2015 in Maastricht.

Written by: Daan Jenniskens, Justin de Witte

3

18

Marc Koehler’s design practice illustrates

will get stuck even further. To achieve this,

city. This relationship to the city and its

how an architect can successfully anticipate

we need inspired politicians, entrepreneurs,

inhabitants defines the social responsibility

the rapidly changing construction and

engineers and designers with powerful

of architecture.’ According to Koehler,

real estate business of today. With the

ideas and smart solutions that seduce us

this challenges architects to constantly

‘Superlofts’

Koehler

to consume, produce, live and move in a

ask themselves in what kind of world

Architects aims to increase its influence on

concept,

Marc

much more sustainable way.’ But what is an

they would like to live. ‘Which values are

the design task, by consciously entering the

ideal and how does it manifest itself in the

important in this world, which values do

field of project and product development.

work of an architect? Koehler distinguishes

I want to strengthen and which ones do I

By doing this, Koehler partly takes on

three forms of ideals: social ideals, aesthetic

perhaps want to let go of. The very moment

activities that are traditionally performed

ideals and business ideals. ‘Together, these

an architect draws a first line on a piece of

by developers, real estate agents and

three types of ideals form the ethical value

paper, he should already ask himself why he

contractors. This enables MKA to involve

system of the architect, constructed upon the

is drawing it, and what he wants to change

the end user more actively in the design

core human values that everyone develops

in the status quo of the place he is designing

process. Archiprint

Marc

during their life, and which define your

for. That question can only be answered if

Koehler about his ideals and their role in

view of the world.’ Where the ‘classical’

one has ideals. It is an essential, existential

his architecture practice, about how ideals

subdivision is usually made between the

question that every designer should ask

can change the world, and about how the

social on the one hand and the aesthetic on

himself, especially the architect.’

world can also influence ideals.

the other, Koehler adds a third element with

this business ideal, questioning the role of

Aesthetical Ideals

Ideals Can Change the World

architects as entrepreneurs in the debate on

Koehler argues that these social ideals are

According to Koehler, having an ideal and

design value.

intimately connected to the individual

spoke

with

acting accordingly is crucial to architects

aesthetical ideals of the architect as an artist.

who want to be in the forefront of change,

Social Ideals

‘An architect develops a personal value

and who aim at developing authentic and

Architecture transforms reality by altering

system and performs a creative act based on

innovative design solutions to the urgent

the

aesthetic

this value system. It is simply impossible to

questions that characterize the rapidly

conditions of the world. Koehler states that

create something without having personal

changing society of today. Koehler argues:

the beauty of architectural creation lies in the

ethical beliefs and a well-developed sense of

‘Without ideals, there can be no change;

magical moment of change that the building

taste. The moment a designer draws this first

and the world urgently needs change.

process comprehends. ‘First there is nothing

line on a piece of paper, he is creating and

The current socioeconomic and political

– an empty building site or unused space

is thus asking himself the aesthetic question

models are collapsing and this has caused

awaiting intervention – and then suddenly

of what he wants to change and what it

an ecological catastrophe and huge social

it is there; the building has been created

should look like.’ According to Koehler, it is

injustice

don’t

and it has changed everything around it

important that architects are aware of their

fundamentally shift our approach now, we

and shapes the collective memory of the

responsibility to make aesthetic decisions.

and

inequality.

If

we

physical,

functional

and

It is also important to seek an aesthetic

of entrepreneur they want to be, or what

wishes and needs. This is combined with

common ground between society and the

type of organization they want to run or

a strong brand strategy and community

work of the architect. Koehler argues that it

be part of. ‘Like any properly functioning

platform. The direct participation of the

is the task of the architect to show functional

business, an architecture firm needs a vision,

end user, a central aspect of a traditional

and aesthetic possibilities and opportunities,

an ideal, about what kind of business they

CPO project, is still present, albeit to a lesser

and to seduce people to develop and

want to be. What are the corporate values

extent. To avoid problems that occur in most

progress their way of life. He also thinks it is

and what is the mission? Is the organization

‘normal’ CPO projects, the ‘democratic’

important to explain to the user why certain

an open foundation or a top-down one-man

aspect of the design is better regulated.

architectural choices are made. It is, of

show? Is profit optimization the main goal,

This is done in order to protect both the

course, still possible that the aesthetic vision

or are long-term investments prioritized?

individual and the collective interests of the

of an architect is not broadly supported. In

What is the role of research, product

end user, as well as Koehler’s own aesthetic

such a case, Koehler admits that an architect

development and branding in the firm? All

interests as an artist-architect. As mentioned

can consider moving towards the current

these things have a more direct influence on

before, the uniqueness of the concept also

aesthetical preferences of the general public.

the work of an architect than many seem to

lies in the fact that Koehler controls aspects

‘An architect with a strong aesthetical ideal

realize. A company is a social organization

of the value chain of real estate development

however, who fully believes in what he is

and has a direct influence on the society

that were traditionally the domain of other

doing, will not easily conform to the general

we live in.’ As an architect shaped by the

parties like project developers, contractors

taste. He will more likely speculate on the

professional hardship after the economic

and real estate agents. MKA is responsible

changing taste of tomorrow and stick to

crisis of 2008, Koehler seems to imply here

for the entire development from idea to

his guns.’ Koehler believes that a designer

that more architects might have survived

design, marketing, sales and construction

inherently lets his intuition perform a

this period if they had formed better ideas

management.

guiding function in the artistic process, and

on the management of their businesses.

originated by responding to the changed

that it is something he has to be able to fall

The

Superloft

concept

and worsened situation in the construction

back on at any time. ‘That is the artist that is

Superlofts

industry after the economic crisis of 2008:

present within every designer, and that has

An illustrative example of the formation

the absence of these traditional parties on

to be cherished and developed.’

and application of strong economic ideals

the housing market created a gap that MKA

can be found in the ‘Superloft’ concept that

filled with a new and innovative way of

MKA has developed and refined over the

designing, developing and building. Koehler

In addition to the two aforementioned

last decade and which can be described

explains: ‘In order to achieve our ideals

‘classical’

Koehler

as a ‘CPO 2.0’.1 A Superloft is, in short,

of a new open system of tailored housing

distinguishes a third type of ideal: the

a collective residential building with an

development, we needed to broaden our

business or professional ideal. He states that

innovative

consisting

knowledge of the technical and financial

perhaps most architects and architecture

of loft spaces of 6 m in height, which the

aspects of how architecture comes into

students don’t regularly consider what kind

inhabitants can fully customize to their own

existence: of real estate development. This

Business Ideals forms

of

ideals,

building

system,

19

20

meant collaborating with a broad network of

order to realize your ideals, it is important

be that, speaking in Darwinian terms, the

partners, taking risks and seducing everyone

to have a flexible and dynamic value system

architects who evolve the fastest are the

to experiment with a new idea of building and

that responds to reality. Otherwise you will

ones that will survive? Does this mean that

finance. This entails having a lot of courage,

only fall into utopias. I believe in what I

relatively small, young and dynamic firms

energy and enthusiasm. This is the central

call Critical Idealism.’ Especially in times of

have an advantage when a crisis erupts, and

core of the potential new role of the architect:

crisis, in which the world changes fast and

that bigger or older firms face a disadvantage

to seduce and convince the professional field

on many different levels, an architect has to

because of all the ‘extra baggage’ they carry?

to change and innovate together to make

be able to anticipate by being flexible enough

And consequently, will a firm like MKA,

new products for the lifestyle demands of

in his ways of working and his ideals. As it is

which developed strongly during the current

tomorrow.’ The investments in time and

certain that the world will keep on changing

crisis and has significantly grown as a result,

money that were needed to develop this

in the future, this is therefore something

still be able to persist during a next crisis?

concept were initially financed by the other,

every architect should be able to do. Crises,

These are difficult questions that cannot be

more ‘traditional’ activities of the firm. When

whether economic, cultural or ecological

answered with absolute certainty: the future

the concept started to take off both socially

in nature, will arise and pass again.

is, as always, hard to predict. Luckily, in

and aesthetically, but also economically, it

Socioeconomic relations will shift, the role of

order to get to know the answers to these

became one of the main focuses of the firm.

the architect will change accordingly. Every

questions, one only has to wait for the next

generation of architects will face different

big crisis to arrive.

The World Can Change Ideals

challenges and opportunities. Paradoxically

What the above example also illustrates, is

enough, the ideals of the architect can play

how ideals can be shaped by the changing

a leading role in actively changing and

world. With the Superloft concept, MKA

improving reality, but an architect should

reacted to changes in the socioeconomic

also be able to adjust and develop his

context and adjusted their ideals and

ideals in order to remain relevant and, most

methods of working accordingly. Koehler,

importantly, to be able to formulate the right

who is fascinated by – and critical of – the

solutions for the ever-changing problems of

ideal of the maakbare samenleving or socially

a changing world.

engineered society, argues that architects are allowed to have changing ideals, as long as

Big in Spite of Crisis or Because of It?

they stick to their personal, underlying core

The propositions and opinions that are put

human values. ‘When you look at the ideals

forward in this article inevitably raise the

of architects in the 1970s and 1980s, you see

following question: Are architecture firms

that today the same architects don’t have

in general, and Marc Koehler’s in particular,

those ideals anymore. I think that ideals

successful despite the raging crises that they

transform, just like reality transforms. In

face, or perhaps because of them? Could it

1] The technical execution of a Superloft project looks like that of a so-called CPO (Collectief Particulier Opdrachtgeverschap) project, but has some quite specific characteristics. The process starts with a group of potential future inhabitants, called ‘optants’, who want to develop a project with MKA on a certain plot. The moment that this plot is acquired, a ‘co-operative association’ is established.

The co-op gets a purchase option of one to two years on this plot. Then, this group goes to a contractor together with the architect. In exchange for the right to build the project, the contractor takes on the risk of unsold houses. An ‘SWK’ or Woningborg insurance is then taken out, meaning that the project will be built even if an involved party is taken over or goes bankrupt. This insurance can only be taken out by contractors or project developers, and banks only give out mortgages if all these things are taken care of. When this is all arranged, a contract is signed with the contractor, the definitive design can be made, and subsequently the actual construction can commence. For more information, visit www.superlofts.co.

Critical Considerations A Discourse on the Future with Ben van Berkel Ben van Berkel (1957) set up an architecture practice in 1988 together with art historian Caroline Bos, then called Van Berkel & Bos Architectuurbureau. Ten years later, they founded UNStudio, which grew into an internationally recognized firm with offices in Amsterdam, Shanghai and Hong Kong. In 2014, Van Berkel conducted a masterclass at the Berlage Centre for Advanced Studies in Architecture and Urban Design about recent developments in our knowledge economy that challenge the profession of architecture.

The masterclass – called Architecture without Architects. Architects without Architecture? – aimed to redefine assumedly distinct roles in the discipline, questioning the role of the architect in today’s changing world.

Written by: Nima Morkoç, Max van der Westerlaken

4

22

When standing on perfectly flat ground,

First, following Bernard Rudofsky’s inquiry

When asking his students at Harvard how

one can only see a distance of 5 km

of Architecture without Architects (1964), Van

they would cope with today’s challenges,

before the earth’s surface curves out of

Berkel explains turning around Rudofsky’s

Van Berkel explains that they start searching

sight. Walking further will enable one to

title into Architects without Architecture as

for knowledge in other faculties. ‘Harvard

explore new metres, but will leave the one

the shift from architecture being valued by

is not a holy place, but I think universities

perambulating incapable of seeing the

its permanence, materialization and image,

in general should be more open to an

metres left behind. This also goes for the

to a more knowledge-based and data driven

interdisciplinary experiment. It is something

profession of architecture, because while

way of doing things. Does this mean that

that is being stimulated on the Harvard

we might be well aware of our metres left

today, the process towards architecture in its

campus, but is still lacking in many other

behind, imagining our future leaves us

physical form has become more important

universities around the world. What an

with divergent speculations. What is in our

than the physical form itself? Is the age of

architect can achieve in today’s world

sight now as architects and what are the

the ‘singular hand’ now replaced by a more

depends on how you educate and develop

problems? What is ahead of the curve and

process-based, democratized architecture?

yourself within the discipline and in relation

what are we leaving behind?

to others. So perhaps, to some extent, current In Search Of . . . ?

architectural education is to blame.’

Architecture as a discipline finds itself in a

‘Everyone is searching at the moment,’

conflicting momentum. It seems difficult to

Van Berkel states, ‘knowing that we are in

Following the example of the city of

escape traditional systems, especially for

an extremely important shift.’ Amsterdam

Amsterdam, the discussion continues on

existing firms. Rem Koolhaas stated during

comes up as an example. The city has

the necessity to experiment. Van Berkel:

the 2014 Venice Architecture Biennale: ‘Our

become so dense; it now has a housing

‘Of course experiments can fail, but even

influence has been reduced to a territory

shortage and is crying for help. In the case

when they do, they can bring something

that is just two centimetres thick’, which

of Amsterdam, Van Berkel stresses the

new to the table. Failure should therefore

implies we are actually losing the conflict.

importance of openness, with which he

be promoted more, I believe.’ The chance

This moment of entrenchment, however, is

refers to sharing data about empty buildings

of making the problems more severe in that

highly interesting for a new generation of

and areas that are potentially developable.

sense is a risk that has to be taken. In this,

architects that is not yet ‘stuck’, in particular

‘Analysing all data, I realized Amsterdam

Van Berkel points out a difference between

regarding

knowledge

needs an innovative vision. They are

starting and renowned architects: ‘A new

economy. Archiprint engaged in this debate

the

rise

of

the

hoping for new forms of developing the city

generation of architects can start off with

through a discussion with Ben van Berkel,

towards a certain future, instead of waiting

a clean slate, whereas for me, it is more

founder and principal architect of UNStudio,

for someone to draw some urban master

difficult to freely experiment. I am involved

resulting in a discussion about collaboration

plan. Cities like Barcelona, Paris and London

in a big convention of systems and there is

and communication within the discipline,

are in need of a clear vision, too, and I think

a certain image I have evoked with clients.

with other disciplines, and with the public.

these cities are looking for each other at the

They come to me, asking “Ben, can you

moment.’

please make us a building like you made for

Mercedes- Benz?”, while they often do not

collaboration’ is a term that is often thrown

I believe, is the meaning of connecting

comprehend the story behind it.’ A Frank

around by critics and professionals as the

knowledge from different disciplines.’

Gehry quote comes to mind: ‘I don’t know

putative solution. This proves at least one

why people hire architects and then tell

thing: architecture as a discipline is still in

In an age in which digital methods make

them what to do . . .’

search of new ways of collaboration within

it easier to gather and amass knowledge,

its own discipline, and with others.

many fields – including architecture – have

So perhaps we should think about promoting

splintered into subfields as expertise has

the architect’s process of designing a

Business Attitudes

building, instead of the building itself. For

The

cross-disciplinary

the discipline of architecture is facing,

now, there are only very few documentaries

collaborations touches upon the way we

however, have not narrowed accordingly.

– for example The Competition (2013) –

currently organize our business models

Van Berkel does advocate for this trend

about the actual challenges we meet during

within the discipline. The consequence

within the architectural field. ‘As a young

a design process, whereas there is – for

in collaborations that involve multiple

architect, you should simply concentrate on

example – an abundance of movies about

parties in an equal manner – without a

one thing you find interesting. Something

lawyers that makes people understand their

clear hierarchy – is the fact that it might

with which you can truly achieve something

struggle. The fact that architects now mainly

result in a ‘democratized’ architecture in

in the built environment.’ As an example, van

promote their built achievements instead,

which everyone has a say, where there is no

Berkel recalls a variety of clients struggling

causes clients to judge and select a firm

‘singular hand’ that leads the process. This

with both the possibilities and impossibilities

accordingly, as if they were flipping through

reminds Van Berkel about Dior and I (2014),

of their empty, unused and decaying former

a catalogue. Other firms, such as Mecanoo,

a documentary wherein Raf Simons is

office buildings. As liberating as this need

OMA and West 8, seem to have escaped

filmed designing his first Dior haute couture

for architects may sound, it does irrevocably

this faith, as did MVRDV until recently.

collection. ‘Raf Simons, together with his

stress the necessity to rethink the traditional

When the PR of MVRDV puts words like

advisors, explores three or four themes and

– hierarchical- methods in architecture

the ‘Markthal effect’ in the mouth of the

then looks for knowledge and references

towards cross-disciplinary collaborations, a

news writers, people in Dubai already get

that suit them. He asks his designers to

change which would impose a completely

in line to get ‘something like the Markthal’

design four or five options regarding a

renewed dynamic within the architectural

(Architectenweb, 2015). Apparently, the

certain theme. Then he navigates.’ When

field. Not only would it mean that for the

problem Van Berkel mentioned earlier goes

watching the documentary one can see the

twenty-first century architect an active

for others too.

resemblance to architecture practices with

attitude is rather a necessity than an

fast-paced and tense moments. Van Berkel:

option, it would also result – as van Berkel

Successful firms have become victims of

‘So, others can design too while there is one

stresses again, in a significant difference

their success, limiting their own ability

man supervising the whole. This does not

in generations of architects;

to innovate. While struggling with this

mean that a compromised design is being

help,’ van Berkel explains, ‘is to have a clear

seemingly negative spiral, ‘cross-disciplinary

produced, but a more intelligent one. That,

vision of what challenges you focus on. If

theme

narrowed (Edmondso, 2012). The problems of

‘What could

23

24

you put more than 20 ambitions in a design,

for one year, that might be good for the

about the engineering model of the Erasmus

the design becomes blurry. Sometimes it is

experiment and structure, but is not good

Bridge have never been revealed in a good

better to only put three ambitions together,

for the project. Actually the government is

way. There are very unusual proportions to

which make the lines of thoughts and

forcing us to work as flexibly as possible,

the dimensions from the height of the pylon

communication a lot stronger. The same goes

with negative concequences for our staff and

to the length of the deck. To give another

for any form of business model. If we are

projects.’’

example: Tesla has recently announced

talking about the sharing economy and about

that it will be releasing all of its data in its

what is currently expanding and releasing

Platforms

search for a stimulation of the development

itself, then most of the time we are talking

Connecting

about start-up companies. I would have to

disciplines

is

will a firm itself in the end benefit from

start a new office to do things that are state

actively engaged in. In 2013 it launched an

these kinds of releases, or will it at all? Van

of the art. You as a younger generation still

‘open-source’ knowledge hub that is web-

Berkel: ‘I think in times like these you have

have the freedom to structure collaborations

based. These hubs, called platforms, aim at

the responsibility to do this kind of thing. If

in a new and innovative way.”

facilitating the open exchange of knowledge,

you are a bit more innovative in the field of

knowledge is

something

from

different

UNStudio

of electronic cars at a higher pace.’ But how

with the ultimate goal of introducing

socially sustainable ideas than others, then

When architects of younger generations

and encouraging the expansion from a

you have to release your knowledge about

decide to join existing (and traditional)

collaborative to a co-creative working model

it. After all, architects make buildings for

offices there are other challenges being faced.

for architecture (UNStudio, 2013). ‘Ideally,

humans and therewith have a profound

It is quite controversial how we are dealing

it results in the architect still designing his

social influence. So from one side this is

with labour conditions and laws. Would

project, while there is a layer on top of that,

purely altruistic; from the other there is

the architect benefit with more flexible

you could say, in which the discipline as a

a thought that a kind of cross-fertilizing

conditions and laws in The Netherlands, so

whole applies, adjusts, gathers and edits co-

conversation might come about wherein I

that an architect can work more easily for a

creative intelligence that creates a responsive

can grow towards some co-creation model.

short period of time, so that a firm can get

architecture, more integral and intelligent.’

Perhaps I will unexpectedly find a specialist

certain knowledge for a short period of time?

that I otherwise would never find. I just hope

Van Berkel: ‘’That is a very direct question

So, if open-source sharing leads to more

to be more communicative with this and to

to what we are dealing with currently.

profound and scientific arguments and

have more smart input from outside.’

These contracts have been changed in recent

therewith helps develop the discipline as a

years. We can now only prolong someone’s

whole, what is it exactly we should share?

One can imagine that this is not possible in

contract three times in two years. That is

Would this mean that UNStudio – for

the way we are working today, considering

a disaster for architecture firms. We have

example – could share their engineering

the competitive atmosphere in which we gain

long-term projects that range from one to

model of the Erasmus Bridge? Van Berkel

our projects. Van Berkel: ‘For an on-going

three years; knowledge has to grow within

explains: ‘Yes, that is a good example. I

research, however, it is no problem at all. We

the project’s team. If someone is only staying

would love to do that. Real arguments

have different platforms in the firm that are

connected to work fields like “mobility+” or

virtual building. Websites know everything

professions. We are behind compared to

“the new campus”, so we do not only think

about their users, collect all data possible

other disciplines that do escape traditional

about specific buildings or objects but more

and evaluate and change accordingly.

management models and we spend too

about the general questions behind them.

Likewise,

as

much energy on competing with each

We therewith carry out the projects from a

Eneco (a Dutch electricity company) know

other and not enough on fighting for the

knowledge-oriented perspective and as a

everything about their users’ behaviour and

profession as a whole. Van Berkel concludes:

result we are able to connect a lot of different

can make predictions and future strategies

‘There is simply not enough innovation

scales.’

from that. As architects we are not making

taking place in the architectural discipline.

energy

companies

such

such data evaluations at all. Should we not

This is why the transformative time we are

pro-active

look for ways of doing so and is this a reason

in now – call it a shift – is good.’ Perhaps we

response, exchanging knowledge through

we are losing a certain sense of credibility

have not evaluated (our creations) enough

these platforms is not led independently

nowadays? Van Berkel: ‘That is exactly what

as a profession or at least we never took

and does not contain complete libraries. Van

I am thinking of and of which I know for sure

the time to do so. Perhaps we have all been

Berkel points out that as something he too

that we will be engaged with much more in

inefficiently speaking different languages.

is still dealing with: ‘This cross-fertilized

the future. We have already been trying to

Perhaps it is time to stop fighting each

knowledge – which we often times do not

do so for a few years now, for example with

other and truly share our findings in more

have – is something that you have to find

DUO in Groningen.’ Would this kind of

systematic ways. Then, through a network

elsewhere. In the future, architects might for

research and evaluation also be able to tell

of architects, we would be able to see more

instance have to attain more programming

us very concrete things such as ‘the smartest

metres of the curve.

knowledge. As an office, we are now only

option for the façade’ or ‘what type of brick

getting started with it, but I am really

or wood we should apply’? Van Berkel: ‘I do

thinking about getting more programmers

think so. Lately, for example, I have found

in the firm. Of course I have them already,

out that a certain plaster technique with a

but they are still working too much within

certain amalgam of cement – which is an

our discipline.’

Iranian technique, by the way – holds the

Although

UNStudio

has

a

heat for much longer and has never been Evaluation

used in the Netherlands.’’

One of the most profound ways of obtaining knowledge is still through evaluation and

Evaluating

self-reflection. This does not necessarily

underline the conflicting momentum we

our

discussion,

all

points

have to do with architects themselves, but

find ourselves in. In terms of collaboration

with our built achievements instead. In this,

and communication, the conflict establishes

let us draw the parallel between a building

itself on two sides: internally within the

and a website or even regard the website as a

profession and externally against other

Architectenweb. 2015. Winy Maas: plan voor Markthal in Dubai. Architectenweb website. http:// www.architectenweb.nl/aweb/redactie/redactie_detail. asp?iNID=37576

Edmondso, A.C. (2012) Teaming. How organizations learn, innovate and compete in the knowledge economy. San Francisco: HB Printing

Graaf de, R. 2015. ‘’Charisma allows the architect to speak with authority, even when he has no clue’’. Dezeen Magazine website. http://www.dezeen. com/2015/09/29/renier-de-graaf-amo-oma-opinionarchitects-charismaeisenman-rossi-van-eyck

Knikker, J. 2015. MVRDV’s Markthal PR Campaign; Or, how we learned the price of hicken.

Archdaily website. http://www.archdaily.com/774612/ mvrdvs-markthal-pr-campaign-or-how-we-learned-theprice-ofchicken

UNStudio. 2013. Launch Open Source Knowledge Sharing. UNStudio website. http://www. unstudio.com/research/asp/launch-open-sourceknowledge-sharing

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5

Between Commerce and Creativity On the initiative of Broeinest Janou Bonnie (1988) has been coordinating Broeinest ever since the initiative started. She has seen all of the steps in the process and is regarded as the ‘spider in the web’: a caretaker, handling and planning all daily business at Broeinest.

This article includes interviews with different users, whose names are irrelevant: Graduated as an architect, the ‘freelance designer’ we interviewed – referred to as ‘the designer’ in this article – now runs his own graphic design studio and acts as freelancer in many activities that are related to the discipline of architecture. Broeinest is his daily workplace. The ‘material designer’ attends the events organized by Broeinest on a regular basis. She visits Broeinest monthly and uses the material library for inspiration. For the ‘interior architect’, Broeinest offers the opportunity to attend workshops and events multiple times a month, and she uses the material library for her own designs. The ‘industrial designer’ is not a frequent user of Broeinest, but does visit the material library of Baars&Bloemhoff in Amsterdam to find information on the materials she uses in her designs.

Written by: Margit van Schaik, Max van der Westerlaken

In January 2015 Baars&Bloemhoff, a Dutch

constructor that buys the materials from

opinion, is proof of the necessity to continue

supplier

opened

us. Of course, the architect or designer

to provide professional advice about the

Broeinest. Located in the Glasgebouw on

influences the constructor, which is why it

collection.

Strijp S in Eindhoven, Broeinest provides

is important to communicate with them in a

over 700 m2 of freely accessible multi-user

direct way.’

of

plywood

panels,

workplaces, where the company’s own

With the increasing amount of freelance-based designers, our traditional way of reaching new and familiar clients no longer worked.

material library is open to the public and

The financial crisis affects the creative

the professional field. Soon, Broeinest

industry of interior designers to which

will be expanded with new settlements in

Baars&Bloemhoff supplies. Janou continues:

Rotterdam and Amsterdam. The initiative

‘Traditionally, we had multiple contact

comes at a time when the storm of the

persons that visited the architecture offices

financial crisis seems to slowly be dying

to discuss the advantages of certain materials

down and the trenches it has left behind

and provide the designers with advice. We

are becoming evident. After ten months of

noticed many design offices – our indirect

practice, Archiprint talked with Broeinest’s

customers – were shrinking because of the

founders and users about its power as a

effects of the financial crisis, which caused

The Broeinest initiative thus appears to

putative reaction to new trends and shifting

many former employees to start working

be the adaptation of a business model to a

perspectives, but also to critically assess the

on a freelance basis. That was a decisive

particular shift, creating an approachable

initiative.

observation. With the increasing amount of

place that attracts potential clients. Although

freelance-based designers, our traditional

this sounds like the ideal win-win situation,

Broeinest profiles itself as the ultimate flexible

way of reaching new and familiar clients

it is not a unique phenomenon. As a result

meeting place for the (interior) architect and

no longer worked. As a reaction to that, we

of the financial crisis, many companies see

creator; a place that inspires, supports its

decided to attract them to come to us by

themselves forced to play a more active role

users and helps them find information about

providing a free place to work. There, we

as operators in the market, but are afraid

their materials. To our question of whether

would then show our materials and advise

to do so. Janou: ‘We had no choice but to

this is the ideal and preferable situation – a

them. The intention was to develop an

conclude that the construction industry

true need in turbulent times – Broeinest-

innovative and creative platform that would

in the Netherlands is very conservative.

coordinator Janou Bonnie clearly states: ‘It

both be advantageous to us and to designers,

Many companies, constructors or suppliers

is not an “ideal”. Baars&Bloemhoff, which

who could learn from each other and work

seem to be afraid of social and economic

owns Broeinest, simply supplies decorative

together.’ The reason that designers like

changes, because they fear to lose their

plywood materials; the company buys,

certain materials in general, Janou argues, is

original character.’ Right at a time the

stores and then sells them again. Interior

because they know their true characteristics.

experiment resembles fearful gambling,

architects and designers therefore are not

Materials of which they have no knowledge

Janou notes that the experimental nature of

our direct customers. It is the (interior)

are not likely to be applied. This, in her

Broeinest is something that helped both the

1

27

28

company and the field of designers. ‘We’re

explained. What might be even more

‘At home, I do not have that much space

simply trying something. In the beginning,

important is the question of how such

and it saves me a lot of money now that I do

we focussed purely on attracting designers

an initiative influences the local field of

not need to rent another place. I notice the

to our flexible workplaces. It would be a

designers. The phenomenon of flexible

place is well-known within my network of

creative hub, which Broeinest (Dutch for

workplaces seems to be a well-spread

colleagues and friends.’ To the question of

“breeding place”) derives its name from.

tendency; it’s been introduced in many other

whether a flexible workplace like Broeinest

Back then we could house over 40 designers,

places. But isn’t it, after all, the discipline

will be the way we all work within a couple

which is absurd when I think of it now. I

of designing that requires that the designer

of years, the interior architect’s answer is

have to confess that, although it is slowly

has a – or rather his own – familiar place

clear: ‘No, of course not. However, Broeinest

increasing, the number of designers that

to work in, surrounded by all his personal

does respond to certain needs that are

uses these workplaces is disappointing. If

tools? Doesn’t this imply that the flexible

definitely there at the moment: quick and

I had to start the initiative again, I would

workplace does not match the ideal of

direct contact with suppliers; a place to go

definitely present it more like a sample

a designer, explaining the fact that the

for professional advice, instead of some

library in which one can work, instead of a

flexible workspaces at Broeinest have a

formal way of contact that takes a lot of

free workplace that has a sample library in

disappointing amount of users? To elaborate

time.’

it. As I said before, this is all subject to the

on these questions, we’ve included the

experimental nature, which is as uncertain

opinions and experiences of four different

as it is instructive.’

freelance users of Broeinest: a graphic designer who graduated as an architect,

If I had to start the initiative again, I would definitely present it more like a sample library in which one can work, instead of a free workplace that has a sample library in it.

an interior architect, an industrial designer working on expositions, and a photographer annex material designer.

The photographer agrees with our first question,

considering

her

personal

experience: ‘I do not really use these flexible workspaces because I always visit Broeinest with a certain goal; to participate in an event or to use the sample library. A

At home, I do not have that much space and it saves me a lot of money now that I do not need to rent another place. I notice the place is well-known within my network of colleagues and friends.

workplace where I can truly flourish is a place of my own, somewhere I can go and work whenever I want.’ As a daily user of

There is a critical note to the story as well:

So, from a business perspective the idea

Broeinest, the graphic designer praises the

‘Although I very much appreciate the

behind the Broeinest initiative is easily

initiative when starting our conversation:

informality – you are not forced to work

with their materials, but help is always

a week to meet with their business relations.

Broeinest gaining new commissions and

offered when needed – it will never be a true

Besides them, there is a group of young

clients, but this can always be improved.

breeding place,’ the graphic designer argues.

designers who use Broeinest frequently

‘That is something you hope will happen, but

‘I think the term Broeinest is therefore an

as their place to work. Then, we have the

cannot force. And we see that it nevertheless

incorrect one.’ According to him, a true

designer

Bond

generates a lot of goodwill with our users,

breeding place is a ‘bottom up’ initiative.

Nederlandse

(BNI)

which I think is very positive.’

This is to say that a group of designers finds

or the Architectuurcentrum Eindhoven.

a place to work together. It makes them feel

An important group, because they choose

Although ten months of practice is definitely

full freedom, purely driven by the fact that

Broeinest as a place for their events with

too short to formulate any kind of lasting

organizations,

like

the

Interieurarchitecten

they want to be based in a certain place and want to flourish there in their work. The character of the designers themselves lies in that place, instead of a company supplying plywood and other services. He concludes: ‘I think it is at the same time Broeinest’s power and crux. The approachable and open atmosphere makes everyone feel welcome and somehow sets one into contact with the company. The anonymity, on the contrary, means that I am not surprised by the fact that hardly any designer truly prospered

conclusion, the users in our conversations

Although I very much appreciate the informality – you are not forced to work with their materials, but help is always offered when needed – it will never be a true breeding place.

here and that the effect of a true breeding

all agree on one thing: ‘Broeinest is clearly a large advertisement for Baars&Bloemhoff – an advertisement that works, though.

After all, the will and guts to innovate is something to praise the company for. The most interesting is the on-going experimental attitude.’ It could be regarded as a book. The flexible workplaces are the cover. All of the ingredients for a good story are present, but Broeinest is still searching for the right plot with which to structure them. This is to say that for now, there’s no creative breeding

place is simply absent.’

place, but the initiative contains some key which they, in turn, attract our potential

aspects that are highly valuable and different

The ‘flop’ of the creative breeding place,

clients. Finally, we have the creative

from the way many other companies behave

however, caused many other activities that

networkers who only visit the events and try

themselves: it is approachable, open, willing

relate to the discipline of the interior designer

to extend their contact network. These types

to share knowledge and aiming to create a

to take the places of flexible working and the

of users and the many different activities

widespread network that includes a very

sample library as focal points of Broeinest.

we now organize ignore the original goal

diverse range of designers, developers and

Building their own network and extending

of Broeinest; we are not directly selling

companies.

that of others is what attracts other types

materials. What matters to us, however,

of users as well. Janou distinguishes

is that they do come into contact with

four: ‘We have a group of professional

Baars&Bloemhoff as a company, be it in an

designers, who use Broeinest roughly once

indirect way.’ Janou even notices users of

1] Broeinest. (n.d.). Welkom. Retrieved October 2015, from Broeinest: http://www.broeinest.nl

29

6

Shifting Dynamics in Professional Reproduction A Conversation with Will Hunter The Architectural Review of October 2012 released an article by its then executive editor Will Hunter, under the name ‘Alternative Routes for Architecture’. Hunter indicated the problematic progress of architectural studies and practice such as increasing tuition fees, the arduous position of architecture studies in the

academic world

and the marginalization of the architect within construction practice.

A think-tank was launched with the sole purpose of rethinking this problematic educational environment and its failing correlation with the professional practice. Today, just three years later, this think-tank has resulted in a completely new institute for architectural education called The London School of Architecture. In October 2015 the school took on its first group of 32 students in October 2015, offering them a two-year postgraduate programme, after which they will leave the school with an LSA Diploma in Architecture.

Written by: Teije Hartman

In an utter basic perspective the relation

Hunter’s response was fast and convinced:

general. ‘The problem is that some of the

between an education and its professional

‘I completely agree. I think universities are

abstract thinking in current architectural

field is simple. People are prepared such

places to discover and generate knowledge

educations is too abstract, It doesn’t touch

that they can properly function within a

and the content of this should not just be

upon the richness of the way the world is

foreseen territory of practice. Especially for

down to the urges in the market. But I also

changing anymore. People get to focused on

architecture, however, the interpretation of

think that it is important to comprehend

a narrow idea of what architecture is . . .’

this purpose is peculiar. Not only do the

the difference between what architecture

professional and the educational field in

schools and universities try to do and I don’t

So where does Hunter position The London

architecture impact each other’s trajectory,

think that universities are the only place for

School of Architecture in relation to the

they are also subjected to changes outside

architectural education.’

academic and the professional world? ‘One

of the disciplinary enclave. This hardly

of the things we’ve tried to do is to make

predictable tangle of changes affects the

a new territory for interaction between

ideal for properly educated architecture graduates, and this has not gone unnoticed.

As its name quietly unveils, the LSA is a response to the current compelling interaction

between

profession.

The

education

London

School

and of

Architecture. Not university, but school. A rather remarkable choice, as the LSA has been validated as a professional diploma by what they call their ‘Academic Partner’,

Some of the abstract thinking in current architectural educations is too abstract. It doesn’t touch upon the richness of the way the world is changing anymore.

practice and study, so I think that we are part of both. We are partner of the London Metropolitan University but we are also much more related with industry, practice and even other things in the wider world.’

The average week of a first year’s LSA student is quite a literal implementation of this targeted position of mediation. Three days a week students work on commissioned

1

projects at one of the collaborators in the

the London Metropolitan University. To

LSA’s professional network. The remaining

clear things up, we proposed the following

There are many claims that today architecture

two weekdays they work on their LSA

statement for the school’s founder to react

fails to be just another academic discipline.3

projects. A part of these projects are aimed

to: ‘Universities are institutions for higher

Architectural education is not merely a

as ‘between’ the practices; their contents are

education where research is not fully dictated

succession of knowledge production. There

decided upon by practice placements but

by the urge to solve urgent pragmatic

is the important component of creativity,

explored within the academic environment

problems, where research is not narrowed

which results in types of research that

of the school. The second and last year of

down to a number of isolated disciplines and

differ considerably from other disciplines

the programme, students go in to a full-time

where institutional autonomy prevails when

in the academic environment. This is where

studio, the content of which they determine

it concerns intellectual activities, regardless

Hunter indicates the different objectives

completely by themselves.

of time and place.’2

of architecture schools and universities in

31

32

Perhaps unfairly oversimplified, the LSA

did not exist. Its reproduction of knowledge

Hunter:

programme thus lets itself be characterized

and skills relied on mechanisms such as

spatialized. The way we live our lives today

as a reset of the dynamics between the

guilds, apprenticeships and sometimes even

is vastly different from ten years ago, let

professional

academic

completely isolated self-studies. It was in

alone a hundred years ago. But things are

environment. A warmly welcomed reset,

the process of its elevation to an academic

changing even faster now than they were,

as the launch of the LSA has globally been

discipline that these traditional mechanisms

and the rate of these changes is getting

well received by an impressive range of key

institutionalized into today’s abundance

bigger and bigger. Because we are a sort of

figures in architectural education. But the

of credited architectural educations. In the

association that brings together different

simple question arises: Why is the concept

case of the LSA, however, it is not hard to

people we are, by our very nature, much

of the LSA already such a success, even

recognize the reimplementation of the more

more adaptable to these changes.’

before proving itself as a tenable educational

traditional mechanisms. The LSA’s practice

solution?

network is somewhat of a multidisciplinary

Of course, the LSA concept of students in a

21st-century

field

and

the

ritual

medieval

network of practitioners is not without any risks for the durability of the school. First of

are not the only ones concerned with the

a modern version of apprenticeship have

all the LSA’s success completely depends on

position and progression of the architectural

been implemented to exploit the best of

its network of practitioners. The minimum

discipline

both today’s academic and professional

wages of the students are agreed upon by

environment.

the practice network and the LSA and of

its

education.

Every

the

human

guild, and the elements of self-study and

and

of

is

Hunter and his team of fresh LSA professors

second year, the European Association

version

‘Architecture

for Architectural Education launches a

the LSA’s tuition fees. It makes studying

competition that questions the discipline’s

ant the LSA cost-neutral, but it is also very

ways of reproduction in a specific context.

The winning essay of 2005, by professor Frank Weiner of the Virginia Polytechnic institute, argued that ‘we lack a legitimate historiography on the education of architects, and the didactic life of great teachers’.4 But perhaps this lack of a detailed and thorough history of architectural education is exactly why such high expectations of the LSA

Because we are a sort of association that brings together different people we are, by our very nature, much more adaptable to these changes.

prevail.

sensitive to a down turn in the market. Once that happens, not only is the LSA network at risk, but also its affordability for students.

The involvement of the practice network might also carry the risk that innovation just for innovation will become a goal. But Hunter rejects this: ‘While being adaptable we are not thinking about throwing away the baby with the bathwater, or throwing away things that worked well. Any institution that

Architecture

has

not

always

been

a

However, it is merely the value that these

starts, creates a cultural memory from the

professional discipline, and thus there was

re-implemented mechanisms have in the

work that it is producing. We’ll learn year by

a time that architectural education simply

endurance of the institute that interests

year, share our findings and benefit as we go

forward. We’re not looking for one way to do

want to be. There is absolutely no good in

this is flexible to change in the future – if

things. We want to be able to be self critical

us saying: this is the kind of practitioner you

necessary. But he didn’t firmly reject the

and review what we’re doing in the light of

have to be, if that doesn’t fit with someone’s

effects this large emphasis on the city of

where we want to get to. We’re also intensely

own trajectory. They need to find out what

London can have. ‘We’ve chosen to look at

interested in the history of architecture and

makes them happy and makes them flourish

the city because the challenges that we face

the city, to learn about what has worked,

as an individual. So we’re trying to make

in the future, such as climate change and

and to project new ways forward. There is

our students aware of things, teaching them

rapid urbanization, will be won or lost in

no novelty for its own sake.’

methodologies and a way to think.’

the city. If you learn to deal with London, you learn how to deal with lots of different

Any institution that starts, creates a cultural memory from the work that it is producing.

We’ll learn year by year, share our findings and benefit as we go forward.

This ambition of teaching students a way

cities, because you know how to deal with

of thinking is, at the moment, very much

complexity.’ When we confronted Hunter

subjected to the context of London’s urban

with the possibility that those challenges

environment. The LSA currently ‘uses

might be completely different in 30 years’

the city as a campus, in order both to

time, he rightly responded; ‘I think for the

provide real-world learning and to reduce

next few years we are comfortable looking

overheads.’5 But they also present London as

at London, but I do like your optimism that

their testing ground, as the LSA believes that:

you think we should be projecting thirty

‘Engaging with the locality allows greater

years ahead’

opportunities for shared urban analysis, deeper engagement with the architectural

Hunter was right; we were being optimistic.

and urban issues, and the opportunity to test

But there is a question there, and it is very

design experiments against real constraints

much relevant to the fundamental idea

Another curious effect of the practice

and user groups.’ So does this make the

of The LSA. Recently, an article about the

network is the relative moment that the

LSA graduate a mere urban architect? And

LSA reported on the school’s ambition to

collective idea of the LSA stops, and the

if it does then what does that imply for the

open up a second school in New York.7

student’s individual position starts. ‘I think

future of our discipline? Will it mean that

‘We’re thinking LA might be more fun now,’

it is incredibly important that students

the architecture profession in the future is

Hunter lets out. ‘It’s in its early stages, but

understand the ethical dimension of their

bound to stay within the limits of the urban

LA is a big city with lots of spatial problems,

work,’ Hunter states, when we broach this.

environment?

loads of architects and already a culture of

6

‘It is about a broader conversation in the

doing wild and maverick things. That might

profession. But it is also very important

In his response to this concern, Hunter

be the city to go to.’ So not only is the LSA

that they, as individual designers, know

started by explaining that it was a choice

looking for an urban environment for its

what they want to give to the world. That

to have the second year theses settled

potential new school, apparently the school

they decide what kind of practitioners they

in London, with which he implies that

realizes quite well there are specific qualities

33

34

in which the concept of LSA would perform

Architecture, purely as a new institute, is

best. Though there is nothing wrong with

without doubt a more than welcome one,

thriving within certain circumstances, it

as in several global media it has encouraged

raises the question whether the concept of

the general conversation about architectural

the LSA is generated on a self-construed

education and its relation to the professional

need, or a need that came from outside. ‘I

field. And that’s an achievement the school

don’t know . . .’ Hunter replies to this. ‘But

has already met without even delivering a

I hope what we’re doing is a sort of sensible

single graduate. ‘Having Alumni going off to

response to a given set of conditions, and

do important things in the world is definitely

what we’re trying to do is to help people

what we’re aiming for. So the legacy of the

who thrive in these conditions and offer

school, and the test in ten years’ time will be:

some leadership about it.’

“Are your graduates producing critical work at the forefront of the discipline?”’, Hunter concludes.

I hope what we’re doing is a sort of sensible response to a given set of conditions, and what we’re trying to do is to help people who thrive in these conditions and offer some leadership about it.

Profession and education influence each other, but they do experience individual problems.

The

probability

that

one

institutional solution will solve all of these from the moment of its inception is likely to be zero. But the London School of

1) Collini, S. (2015). Waar is de universiteit voor nodig? Amsterdam: Amsterdam University press 2) Stevens, G. (2014). A History of Architectural Education in the West. Accessed 1 December 2015 at: http:// www.archsoc.com/kcas/Historyed.html 3) Weatherhead, A.C. (1941) History of Collegiate Education in Architecture in the United States.

Colombia University 4) Weiner, F. (2005). Five Critical Horizons for Architectural Educators in an Age of Distraction.

In: Writings in Architectural Education – EAAE Prize 2003-2005. Accessed 28 November 2015 at: http://www. archdesign.vt.edu/news/pdf/eaae-prize-2003-05-essays.pdf 5) The London School of Architecture. (2015) Programme. Accessed 5 December 2015 at: http://www.thelsa.org/programme 6) Mark, L. (2015) Interview: Will Hunter, Founder of the London School of Architecture. Accessed 23 November 2015 at: http://www.architectsjournal.co.uk/ students/interview-will-hunter-founder-of-the-londonschool-of-architecture/8686618.fullarticle

The Obedient Architect On the Value of Academic Education in the Architectural Discipline Jesper Baltussen (1993) and Margit van Schaik (1993) are both students of the Master’s course ‘Architecture Building and Planning’ at Eindhoven University of Technology. They have closely followed the discussion on the changes of the architectural discipline and noticed how the role of the academic is barely touched upon by the many lectures and conversations. They try to draw more attention to this topic by describing the value of critical reflection and idealism in the discipline, led by the article I will learn you architecture! in Volume.

Written by: Jesper Baltussen, Margit van Schaik

7

36

What happens to architecture graduates

It might therefore be tempting to think

To understand this inevitable idealism and

after years of dedicated study?

In his

that the university should be adapted to fit

how it is related to academic education,

article I Will Learn You Architecture! in

the requirements of the field. Although De

we will first zoom out to a discussion on

Volume, Reinier de Graaf describes the gap

Graaf continues by saying he did not want

universities in general. As it becomes more

1

between academic education and practice.

his education to be any different, he would

important for universities to show their

A ‘complete shock’ is what he calls the

have wanted it to be ‘candid about the status

economic value as well, different voices have

transition from his academic education

of what was being taught [and] that some

come up to emphasize what the university

to his first day in the office. He felt both

notion of context would have been provided.’

actually is for.5 In his book If You’re So

over- and under-qualified, as ‘technical

He continues: ‘I would have developed more

Smart, Why Aren’t You Rich?, Chris Lorenz

knowledge fell way short of what it needed

entrepreneurial and fewer artistic interests . .

observes the economization of Dutch higher

to be... and nobody was interested in the

. and I would have recognized Le Corbusier

education and research, thoroughly ruining

elevated philosophical considerations I

and Mies for what they actually are:

the autonomy of universities and their

had developed during my studies’, thereby

history.’ Dismissing these idealistic aspects

ability to select students and staff according

underlining the frequently mentioned

of architectural education, De Graaf seems to

to their own criteria.6 Market processes are

statement that there is a difference between

draw a rather plain conclusion. Remarkably

now hindering the actual goal of Dutch

what students have learned during their

enough he contradicts himself in the very

universities:

time at university, and what they need to

next paragraph, stating that ‘productive

scientific education and research.

know when working in practice.

idealism’ is something architects inevitably

2

4

need.

to

provide

autonomous

Stefan Collini, a professor at Cambridge

Confronted with a sheer lack of interest in

University who has long been studying

his ideas, De Graaf acknowledges the ‘utter

the developments of universities, also

uselessness’ of the architect and the need to

observes

obey the requirements of economic interests.

This powerlessness made some of his fellow students decide to start their career by teaching at university. To De Graaf, however, this is a strange recycling of experience. He wonders ‘what somebody barely having had a taste of the real world could possibly have to teach, apart from what they themselves had been taught a few years prior’. In that 3

sense, an ‘educational bubble’ is created, avoiding the tough reality of the capitalist world after graduation.

Confronted with a sheer lack of interest in his ideas, De Graaf acknowledges the ‘utter uselessness’ of the architect and the need to obey the requirements of economic interests.

this

increasing

importance

of universities to show their economic contribution.7 According to him, one of the most important aspects of a university is that ‘it offers postsecondary education, where “education” means more than only professional training’.8 Economic value is becoming the decisive factor in what will be topics for research. For some disciplines this means academic education is becoming less autonomous and more dependent on economic interests, while others, especially humanities, are even jeopardized in their

existence. This is something to regret, as

and technical knowledge from the natural

and the attitude to critically reflect on our

some values simply cannot be expressed in

sciences. While the latter is easily seen

built environment, we might still be living

terms of money.

as useful in practice, the former is losing

in the dark, damp streets that Le Corbusier

ground. The architect as an idealist, as De

loathed so much.

The distance to economic interests, a certain

Graaf states, is mistrusted, which results

isolation from commercial practices, is

in an obedient attitude, either downscaling

The undervaluation of this part of the

essential to most academic educational

ideals and creativity or completely giving up

architect’s essence forces him to flee to other

programmes and therewith architectural

on them.

territories. An often mentioned support for

9

education. The abandonment of financial

the adaptation of architectural education to

aspects in project work is a concrete

its practice is the lack of technical knowledge,

example of how academic architectural education distances itself from the market processes working in practice. It makes the student able to form an academic, critical and unbiased attitude and stimulates his creativity. Abstract thinking, taught in for example project work and philosophy and theory courses, improves the students’ capacity to not take the obvious for granted and improve the built environment, instead of making sure the buildings sell. The aforementioned ‘educational bubble’, the conditioned environment in which students

The ‘educational bubble’, the conditioned environment in which students are educated, is not something to regret, but is in fact essential to their capacity to serve a broader public interest.

which affects the architect’s capacity to communicate with other experts. But, as De Graaf states, ‘if architecture is to reclaim lost ground, it needs to accept its true nature...

Only when we stop viewing architecture as a professional expertise on par with other building disciplines can architecture be free to realize its full potential’.10 Instead of engaging in the work of other professions, the architectural discipline should profile itself with the specific features that belong to architecture, and not to any other role it could play.

are educated, is not something to regret, but is in fact essential to their capacity to serve a

But if the architect as an idealist and the

broader public interest.

one that reflects critically on the built But without a more defiant attitude of the

environment is undervalued, what prevents

This touches upon the very nature of the

architect, the discipline would lose large

him from becoming superfluous? As long as

discipline, as it can be seen as a unique

parts of its value for society. It seems right to

the broader public does not acknowledge

combination

recall Le Corbusier and Mies van der Rohe,

this part of the architect’s essence, it is

idealistic

of

concepts,

theoretical,

perhaps a

who just have been degraded to history by

bound to lose ground. But, as De Graaf puts

physical environment. Broad in its essence,

implemented

in

De Graaf, as these architects played a major

it: ‘In order to beat the system, we need to

architecture adopts characteristics of both

part in important developments of social

know how to play the system, only when

critical thinking in humanities and arts,

prosperity. Without idealism in architecture

we know how to play the system, can we

37

38

play the system against itself’.11 In other

embrace ‘the vulgarity of the real world as

words, only when students know how

the only way to ultimately overcome it’.12

practice works, are they able to successfully carry out their ideals. This more intensive

The discussion should never be about

interaction between academic education

throwing away ideals or not, it should be

and the following practice could solve the

about how to carry them out by knowing

problem. It could both prepare students

the laws of practice. We have to learn to deal

for the practice that awaits them and make

with the gap instead of trying to bridge it.

professionals understand the value of what

Let us not rob future generations of their Le

is done at university.

Corbusiers and Mieses: we have to proudly acknowledge the value of critical reflection and idealism as part of the raison d’être of the

We have to learn to deal with the gap instead of trying to bridge it.

architect. And the university happens to be the designated place to do so.

An interesting initiative to address here is the BEP. To smoothen the transition from academic education to the work field, graduates need to have two years of professional experience before being able to register as an architect. Its effect could go two ways: on the one hand it could work as a mould, transforming the critically educated graduate into an obedient architect, ready to serve the orders of practice. In that case it would not improve the situation as described by de Graaf. On the other hand, it could provide the young architects with a toolkit to help them carry out their ideal in a biased environment. Perhaps we need to

1] Graaf, R. d. (2015). I will learn you architecture! Volume #45. Hereafter abbreviated Graaf, R. d., 2015.

2] Graaf, R. d., 2015 3] Graaf, R. d., 2015 4] Graaf, R. d., 2015 5] Consider the two books by Lorenz and Collini, named in this article, but also the protests in the Maagdenhuis in Amsterdam in March 2015.

6] Lorenz, C. (2008). If you’re so smart, why aren’t you rich? Amsterdam: Boom.

7] Collini, S. (2015). Waar is de universiteit voor nodig? Amsterdam: Amsterdam University Press.

8] Collini, S. (2015). Waar is de universiteit voor nodig? Amsterdam: Amsterdam University Press.

9] Graaf, R. d., 2015 10] Graaf, R. d., 2015 11] Graaf, R. d., 2015 12] Graaf, R. d., 2015

Archiprint - The Ideal Profession December 2015 \\ Volume 04 \ Issue 02 Eindhoven Free publication ISSN 2213-5588 Journal for Architecture, created by students and graduates of the Department of the Built Environment, Eindhoven University of Technology and architecture study association AnArchi. anarchi@bwk.tue.nl www.anarchi.cc/archiprint facebook.com/pages/AnArchi issuu.com/anarchi Editor-in-chief Gregor Roovers Justin de Witte

Final editor Teije Hartman

Editors Luuk van den Elzen, Daan Jenniskens, Margit van Schaik and Max van der Westerlaken Guest Editors Jesper Baltussen and Nima Morkoç Advisory committee Bernard Colenbrander, Jacob Voorthuis, Gijs Wallis de Vries Layout design Gregor Roovers

Cover Design Margit van Schaik

Translation and language correction D’Laine Camp Printing Meesterdrukkers, Eindhoven www.meesterdrukkers.nl Publisher AnArchi Eindhoven University of Technology Faculty of Architecture, Building and Planning Vertigo Building, Groene loper 6 5612 AZ Eindhoven, The Netherlands Back issues Archiprint1 Archiprint2 - The Research Issue Archiprint3 - It’s All About Competition Archiprint4 - Show Us What You’ve Got! Archiprint5 - Movement in Architecture Archiprint6 - Creating & Experiencing Identity Archiprint7 - Influence & Inspiration This magazine cannot be republished or reproduced without the permission of the publisher.