Graduation Projects 2017-2018

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Graduation Projects 2017 — 2018 Amsterdam Academy of Architecture

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Architecture Urbanism Landscape Architecture

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Amsterdam Academy of Architecture Graduation Projects 2017 — 2018 Architecture Urbanism Landscape Architecture

Landscape Architecture

Architecture Alexey Boev Reopening Democracy 13

Christiaan Schuit From One Room to Another 134

Lourdes Barrios Ayala Evolving Lower Guadiana 245

Meintje Delisse Campus Cultura 22

Luuc Sonke Liquid Life 142

Annelies Bloemendaal Le Front Pépinière 254

Valerio Falconi The Artisan’s Home 30

Gerben Strikwerda Noorderpark Church 150

Anna Maria Fink Landscape as House 262

Eric Goldhoorn Circular 38

Natalia Sułkowska-Bakker Concordia 158

David Habets Brave New Substrate 270

Ashkan Hashemkhani Campus Invisible Youth 46

Lesia Topolnyk Un-United Nations Headquarters 166

Willemijn van Manen Space for Nothing 278

Maarten Hoeijmakers The Bread Factory 54 Leonardo Kappel Day Twenty-One 62 Nadine der Kinderen Dance Venue on the IJ 70 Nicky Kroes Claustrum Silentium 78 Jaap Leek Celebrating Speed 86 Vincent van Leeuwen Fortress Heat 94 Roy van Maarseveen Wolvenplein Refuge 102 Dennis Meijerink Ground for contemplation 110 Jeroen Pot Track 118 Joost van der Schoot Matière et Mémoire 126

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Jordy van der Veen History Unearthed 174 Koen Vos The Workshop, Our Workshop 182 Dex Weel Perpendicular 190

Urbanism Bengin Dawod Abdullah The Soul of the City 201 Koen Hezemans The Eternal City: Rome 210 Iruma Rodríguez Hernández Towards a Happier Havana!

218 Martijn Veenstra Metropolitan City 226 Koen Vermeulen Regenerate Zoetermeer!

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Anne Nieuwenhuijs Liquid Land 286 Paul Plambeck The Frisian Land 294 Mark Spaan Tirana 302 Mark van Vilsteren Al’Zaatari 310 Thomas Wolfs Silence in the Rush 318

Waste No Talent The Academy of Architecture is proud of this new graduating class. Twenty-three architects, five urban designers and ten landscape architects have made beautiful plans. No less than thirty-eight graduation projects in total and four designers who have been awarded the designation ‘cum laude’. A new graduating class of talents, in which various nationalities are represented. Because the fact that the Academy is becoming an increasingly international school is growing more and more apparent, also in the generations that leave the Academy. A quarter of these recently graduated designers are not from the Netherlands, have their roots elsewhere, come from Belgium, Italy, Austria and Poland or from outside Europe: Cuba, Iran, Russia, Syria, Ukraine and Venzuela. And far from all the locations of the graduation projects are in the Netherlands: Aleppo, the Al’Zaatari refugee camp in Jordan, the Bajo Guadiana River Valley, Boleslawiec, Bregenzerwald, Havana, the Crimea, Llançà and Colera, Paris, Rome, Tirana and Zervreila are all places over the borders that have been chosen for the self-formulated research and design assignments.

I congratulate this new graduating class of talents with their beautiful graduation projects and I wish them every success with the future that awaits them. For its ‘seven tips for young designers’, I would like to draw your attention INTRODUCTION

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to the letter of congratulations from Daan Roggeveen — architect and visiting critic of the Graduation Show 2017-2018. He is a member of the jury that has the impossible task of nominating four of the thirty-eight beautiful projects for the Archiprix Netherlands. ‘Seven tips’ for navigating the paths this world has to offer, because thirty-eight futures lie ahead for the ‘Trailblazers’ as Jan-Richard Kikkert (Head of Architecture) calls the architects, for the ‘Artists in Urbanism’, the moniker Markus Appenzeller (Head of Urbanism) has given to the urban designers, and for the ‘Optimistic Improvers’, as the landscape architects are referred to by Hanneke Kijne (Head of Landscape Architecture).

A new graduating class of designers is leaving the Academy of Architecture: promisingly talented and with many different talents. Use them wisely and waste no talent!

Madeleine Maaskant Director of the Amsterdam Academy of Architecture

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Madeleine Maaskant

Are you going to take the next step in your career? Or are you going to start your own firm? In the past few years, you have already worked in the Dear graduate, professional practice, of course, and have therefore had plenty Congratulations! After many of time to think about what that evenings spent in lectures life would be like. and the studio, weekends of Nevertheless, I would drawings and nights building like to take this opportunity scale models, you have finally to give you some unsolicited graduated. advice. You may see that as In the past year, you have worked hard on your graduation being presumptuous — seeing as you’ve already graduated. project: an assignment which you — in all probability — poured Simply consider it as advice that I would have liked to receive your heart and soul into. A in the autumn of 2002, when unique situation, because you I graduated myself. And see could control an entire project it as something I would like on your own — it will probably to — and should — say to the be some time before you young designers in my own firm, achieve such a situation again. from time to time. So, I humbly And equally unique: a present to you: seven tips for project on which you worked young designers. without colleagues, without advisers, suppliers, contractors 1. Where? or stakeholders. And perhaps most importantly of all: without Even more important than which firm you are going to a client. A unique, and most work for is, in my opinion, probably one-off, situation in which you could express through where in the world are you a spatial design — how you view going to, to take your next step? Be aware of the fact the world. that the majority of the spatial And now life as an assignments in the world are architect, urban designer or outside Amsterdam, outside the landscape architect awaits Netherlands and even outside you. The first question now Europe. Architecture and spatial is: what are you going to do?

How are you going to take your planning are most urgently needed in rapidly urbanising and next professional step? Are fast-changing regions, such as you going to keep working at Western China, India or large the firm you’ve been working parts of Africa. The largest and at over the past few years?

Amsterdam, 2 November 2018

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most pressing assignments in the world are going to play out in The Global South: where rapidly developing economies coincide with a rapidly expanding middle class.

Those are not always the places where ‘the profession’ is practised in the manner as taught at the Academy; not the ultimate places for conceptual design. However, they are the places where hundreds of millions of people are waiting for clean water, adequate transport, liveable neighbourhoods, safe public space, affordable housing and good schools. The places, therefore, where you can actually make a difference.

and to continue reflecting.

Read, write, photograph, and research larger themes that fall outside your daily work.

Try to find a way to consider the longer lines in your work.

Create space and time to do this — whether it is through a course or further education, a series of lectures that you follow, or research that you set up. This will help you to continue reflecting critically on the assignments you are working on — wherever they are.

3. Space for Design Always try to understand where the space for design lies.

Because that is where your added value as a designer will ultimately lie. The scale or the 2. Think!

In practice — and especially the budget of the project will not practice within the context that always be key here — but the I have described above — there level of ambition of the client is not always time for research, will.

Nowadays, many spatial as you were accustomed to at assignments — particularly for the Academy. The tradition of developers — are an economic ‘designing through research’ assignment wrapped up in a does not work if a client wants design assignment. Design as to see a proposal within a icing on the cake of a property week, including renderings. development. Try to understand Or — closer to home — if you need to submit the bid book for how the two things differ from a large housing tender together one another (more about this in tip 5). with a property developer. At And although it is not a the same time, it is actually of great value to have a clear vision hard and fast rule, it is often the case that: the smaller the in such circumstances, and to assignment, the larger the continue to grasp ‘the bigger space for design. A small shop picture’ of the assignment.

Therefore, ensure that you interior can be more challenging in terms of the assignment than find a way to remain informed

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Daan Roggeveen

an office building. An industrial hall more interesting than a residential tower block. And a master plan in Deurne more interesting than an urban plan in Paris. Intentions — as with many things in life — are pivotal.

4. Team up Design is a team sport. In order to realise a design, you must always collaborate — simply because you are not the person who builds what you have designed. You not only work in a project with colleagues, but also with structural engineers, building contractors, civil servants, suppliers and, of course, your client. Use this collaboration to actually learn from one another.

And there is nothing more beautiful than watching (other) professionals at work.

It is incredibly interesting to understand how a structural engineer views your building, how the building contractor with all his experience intends to build your project or how a facade consultant converts your design, on the basis of his discipline, into a set of elevation drawings. Seek out the collaboration herein — by actually working with a contractor you can learn from each other, and actually achieve something that, in all probability, is outside both of your comfort zones! Where possible, seek out the collaborations yourself: they

make a project more varied and above all you will learn to look at the design discipline — which by its very nature is fairly closed — from the outside.

5. Follow the Money Almost every spatial design project is an assignment about (the allocation of) money. Whether it concerns a landscape, urban or architectural assignment: the question everywhere is how that which has been designed relates to the financial — in terms of the land development value and costs. We live in a neoliberal world in which governments — particularly in the Western World — have withdrawn from urban development and started ‘outsourcing’. Private developers have increasing influence as clients in this regard. That means that the incentives in many spatial projects are not (or no longer) social, but above all financial. Moreover, even in public projects — schools, museums, parks — the financial discussion often (if not always) prevails.

It is therefore crucial to understand the role of money in an assignment. What is the construction budget? Where is the money from the client coming from? And what is the business case of a project — will money be earned with a project and if so: with which part? It is difficult sometimes

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7. Don't forget where you came from Finally, and perhaps most importantly: don’t forget where you came from. You have learned an awful lot in the past few years. You have given everything you have to offer, 6. Know your client particularly in your graduation Following on from tip 5: project. It is the project in which understand what your client really wants and what drives him you expressed yourself and in or her, and why he or she wants which you gave shape to your ideas on the world. Don’t just to work with you. That is not let this project be the ticket always immediately clear. The to working life, but view it as terrible dilemma of the design a reflection of your ideas and profession is that we realise visions at a crucial moment in our ideas and dreams with your life. somebody else’s wallet. That You have made your ideas may result in a critical attitude explicit in the profession which, being overlooked — since with a bit of luck, you will be you not only need the commissioning party as a client, committed to for more than four decades. This project is not but also to make your vision a some random stop in your life’s reality. The risk arises that you don’t want to bite the hand that journey, but the proof of your potential. Cherish the intentions feeds you. behind your graduation project However, you were not trained at the Academy to begin and carry those with you in the a full-service drawing office for rest of your working life.

I hope that everything goes obstinate clients. The simple well for you, fact is that the best projects arise when a client is actually Daan Roggeveen pushed by a designer; when his or her ideas and visions Architect Daan Roggeveen on an assignment are put to is partner at MORE the test. Therefore, challenge Architecture, a multidisciplinary your client. But — and this is firm he founded with Robert sometimes forgotten in the Chen with offices in Shanghai Netherlands — don’t lose sight and Amsterdam. He is visiting of the human relationships. critic at the Graduation Show 2017-2018 of the Amsterdam Academy of Architecture. to get a clear picture of these agendas. However, if you know the financial motivation of your client, you will understand a major part of his or her choices in the design process better.

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Daan Roggeveen

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A new generation of trailblazers ‘We are global citizens; we travel long distances and seek new adventures. But there are always places that are stored in our mind and close to our heart, where we want to go back.’

Natalia Sułkowska This quote is telling for a new generation of graduates who are searching more than ever for meaningful architecture. It is also this generation that links this to major themes in society and combines that with personal memories and fascinations. The power of graduating from the Academy of Architecture is that the students have total control over the topic of their graduation project, the supervision that they choose and the process that they go through.

As a result of that, there is maximum freedom to research, question and design that which is truly close to the students’ hearts. Some students from this graduating class took that to extremes, for example by conducting research over a long period or by immersing themselves in the culture that was the subject of their graduation project.

What unites this generation is the limitless confidence in what architecture is capable of, namely that good design can make the difference between growing up and growing old in an uncaring, anonymous environment or in one that is healthy, diverse and inclusive. The guiding principles for designing are terms like 10

Jan-Richard Kikkert

fraternity, togetherness, charity and friendship.

Architecture is expressly used in various projects as a means of bringing humans together, which is comparable to ideals from the 1970s.

This overview also demonstrates that the tools with which a beautiful and hopeful future is designed can be be extremely varied, from the use of rammed loam to the employment of virtuoso kinetic structures.

The roots of many projects on a scale that transcends mere buildings shows that these masters have been trained shoulder to shoulder with urbanists and landscape architects. The dierent layers and the history of the city and the landscape play en emphatic role in various projects, from Purmerend to the Swiss Alps.

That this new generation of self-confident designers are not afraid to use grand gestures is reflected in a building of megalomaniacal proportions that can simultaneously spare and preserve the vulnerable Mediterranean landscape, or in projects in which, for example, democracy and the democratic process are once again visible and explicit elements in society.

The optimism and belief in their profession jumps o the pages and thus heralds, with an infectious enthusiasm, the arrival of a hopeful new generation of trailblazers.

Jan-Richard Kikkert Head of Architecture ARCHITECTURE

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Reopening Democracy In search of a new concept for a Dutch parliament building Alexey Boev Politics define many aspects of people’s lives, even when most of them are not directly involved in political processes and have no chance to do so. Born 2500 years ago in Athens, the original Greek public democracy, with the Agora space for public assessment as the architectonic centre, developed and broadened, thus becoming the way to influence life in societies all around the world. Today, democracy has lost its original openness and accessibility for people. The architecture of parliament buildings highly represents that, as those buildings are mainly being focused on the interior.

Reopening Democracy focuses on creating an alternative proposal for a building for the Dutch House of Representatives (Tweede Kamer der Staten Generaal) that would address openness and accessibility of democratic processes. The building is to reopen to a broader audience, reflecting contemporary society, both locally and globally.

The original design for the new part of the Dutch parliament building in The Hague by Pi de Bruijn already had elements promoting openness of the parliament, such as a plenary hall in the shape of an amphitheatre and a street-like 13

passage, which was unfortunately closed off immediately after completion due to security reasons. Although the concept was striving for more openness, the location did not allow the realisation of the full size of the programme.

The number of offices even had to shrink. From this perspective, only a new location for a new parliament building would be able to solve such issues: openness should be the main theme in combination with preserving a high level of security.

Schiphol Airport turned out to be the best location for a new and more open parliament building as the future development of the area already strives for anchoring the airport in society.

Graduation date 15 March 2018 Graduation committee Laurens Jan ten Kate (mentor), Lada Hršak, Wouter Kroeze

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Alexey Boev

View from the runway. The facade of the parliament building is visible through the glass facade of the airport when a plane is arriving or departing.

The public passageway in the body of the building allows maximal interaction between public and parliamentary members, both visually and physically.

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Concept model: the new Dutch parliament on the border between land and air sides.

The base of the building serves as the border, space definer and access point to public zones.

The meeting spaces for parliamentary parties receive natural light from above through the glass cones on the air side facade.

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Alexey Boev

Vertically, the building can be divided into three parts: a base defining the space on the ground floor, a public passageway and parliamentary spaces.

The new parliament building is located at Schiphol.

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Ground floor. Internal: parliamentary passageway, conference rooms; external: customs, views from landside, open public meeting amphitheatres from air side.

First floor: a public passageway connects the meeting amphitheatres and the plenary hall of the parliament.

Third and upper levels: oďŹƒces of the members of parliament stacked vertically into the oďŹƒce towers with impressive vertical connection points.

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Alexey Boev

The new parliament building, located on the border of the land and airside of Schiphol Airport, links local and global worlds. This position both allows the opening up of the new parliament building towards the air or global side, as well as providing access from the local land side. Being well connected to both the Netherlands by railways and the rest of the world by plane, this location creates opportunities for interactions and promotion of the Dutch democratic system.

The spaces in the building can be divided into three groups. The first group of spaces are accessible from the land side and include a non-secure public balcony that allows one to see the work of the parliament through the huge window without going through a security check. It promotes Dutch democracy for a broader public.

Secondly, the border spaces create the body of the building. They include semipublic and private secure spaces. Semi-public secure spaces, such as conference and meeting rooms are located on the ground level. Private secure spaces include offices for the members of parliament, meeting rooms, senate spaces, the library and the archive.

These spaces are accessible to parliamentary members and official visitors by appointment.

The third group includes secure 'public' spaces, accessible from the air side, but only for people who have passed through the customs or arrived to Schiphol by plane. These spaces include open meeting areas, designed as steps. The 'public' and members of parliament can meet together and discuss in an informal way. A public passageway provides access to the public library and public rows of the plenary hall. Although public and private/semi-public routes don’t intersect, the public passageway allows optimal interaction between public and parliamentary members, both visually and physically.

With its sculptural character, the new parliament building becomes an icon, demonstrating openness of the local democratic processes to every citizen or visitor of the country.

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Semi-open parliamentary plenary hall allows a broader audience to watching parliament meetings.

The ground floor is a semi-public zone with limited access.

Spaces are connected by a wave-shaped passageway.

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Alexey Boev

Cross section through the public meeting amphitheatre — a main point of attraction for visitors from the air side.

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Campus Cultura A rich landscape for cultural encounters Meintje Delisse Until recently, the Burgerweeshuis (Amsterdam Orphanage) and the towers of the Tripolis oďŹƒce complex, both designed by Aldo Van Eyck, stood deserted and forlorn in a vibrant part of Amsterdam. The Vondelpark, the campus of the Vrije Universiteit Amsterdam, the Zuidas business district, the Stadionbuurt district and the Gerrit Rietveld Academy can be found in the immediate vicinity. These functions are sources of nourishment for the Campus and vice versa.

Campus Cultura is a roofscape that connects the Burgerweeshuis and the towers of the Tripolis oďŹƒce complex with each other. The roofscape houses a public world with a culinary, educational and cultural programme. The residents of the campus are (refugee) students from various cultural backgrounds. They will live in the towers and will be able to work, study and reside on the campus. As a visitor, you will come for language lessons, lectures, events, to have delicious food and to sample the wide variety of cultures. The customs, traditions, crafts, characteristic traits and idiosyncrasies, as well as the problems from other continents will be given visibility. Campus Cultura gives these newcomers a home in the city, just like Aldo van Eyck 22

offered orphans a ‘family’ with the Orphanage.

“A good house is like a small city, a city like a large house”, wrote Van Eyck. Campus Cultura is a large house and a small city.

Under the new roof unfolds a new landscape of columns; it is an open fabric with public programme. The theatre, the auditorium, the studio and the stage are sunken, as a result of which these places provide enough privacy or rather openness for use. The interspace that arises through this gradation between public and collective atmospheres makes encounters between residents and visitors natural.

The structure of the new roofscape responds to and follows the structure of the existing roofscape of the building of Van Eyck. The structural principle is like inverted umbrellas that are perforated in various ways, as a result of which a different interplay of light and shadow patterns is repeatedly created on the floor.

The landscape of columns, the unique roof and this interplay between light and shadows make it a space where everyone can feel at home.

Graduation date 8 March 2018 Graduation committee Gianni Cito (mentor), Donna van Milligen Bielke, Jaap Gräber

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Meintje Delisse

Isometry of life on Campus Cultura, a variety of activities and identities.

Top left: The cultural programmes are sunken in the landscape of columns that is adjoining the Tripolis oďŹƒce complex. Bottom right: The educational programmes fill the existing patios and pavilions of the Burgerweeshuis.

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The landscape of encounters seen from the Amstelveenseweg, covered public space for spontaneous and unexpected acquaintances.

The auditorium in the old patio of the Burgerweeshuis. Through a dierence in height between the roof and floor, a stratification arises in the manner of participation and use.

The unprogrammed interspace around the theatre; open space for free use.

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Meintje Delisse

Ahmed from Syria lives in the towers and begins every morning with a cup of coffee on the patio, after which he starts studying in one of the classrooms. He is busy with his civic integration course and his registration for the Conservatorium, a Dutch academy of music, in Amsterdam. In the afternoon, Ahmed walks via the inner courtyard to the music room on the other side of the Campus.

He teaches Oud (an Arabic lute-type stringed instrument) to a number of Amsterdam musicians.

Local resident Joske can be found on the Campus increasingly often, since she discovered the park with her two young children and saw the Kilim rug-weaving workshop in the studio. She now has a selfmade rug for her picnics. She met the dancer Blessing in the park. Blessing would like to set up a dance club. Joske, who is a choreographer and dance teacher by profession, is going to help her with this. Since that time, Joske has given dancing lessons in the dance space, together with Blessing, a few times per week.

The residents cook in the canteen, a dish from a different country of origin every day.

Today, Ibrahim from Egypt is at work and there is an Egyptian chicken dish on the menu.

After work, Ibrahim loves to hang around a little. In the hammock, on the sports field or simply wandering between the columns. Whether it’s good or bad weather, there’s always somewhere for him to go. He likes to be alone.

The refugee Congolese professor Felix is sitting in one of the project spaces. He holds masterclasses here for interested students. Felix can often be found in the library.

As a professor of Literature Studies, he philosophises freely with other library visitors.

At the end of the day, Felix returns to his home high above in the towers with a feeling of satisfaction. The beautiful, unobstructed view over Amsterdam gives him, and the many international co-tenants, a new sense of belonging.

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Plan of Campus Cultura. The existing structure of the Burgerweeshuis and the Tripolis towers, with new public functions in the voids.

Plan demolished (yellow) existing (black) new (red)

Fragment of the auditorium The new roof stretched across the existing roof of the Burgerweehuis.

Fragment of the theatre This wooden ‘piece of furniture’ is sunken in the floor and can be screened off with curtains.

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Meintje Delisse

Linoleum, scheme: in red the existing buildings, addition in blue

The structure of the connecting roof responds to the existing and transforms along with the structure of the Burgerweeshuis and the Tripolis towers.

Linoleum Auditorium

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The Artisan’s Home A place where a responsible society can emerge Valerio Falconi Coming from a family of woodwork artisans, I recently became aware of how many family dynamics have undergone important changes over the course of a few generations. However, I'm grateful to live in a time and space where I can choose my own profession, where I want to live and how independent I want to be, I nevertheless feel that some problematic social issues of modern societies could use some input from family structures of the past.

My analysis is, in particular, a reflection on the role of senior citizens within the family, the role of families within societies and the way skills and professions have been handed down to new generations. The goal of the project is to create a new housing typology where senior citizens do not feel as if they are a burden anymore, and to create a space where people of different ages can coexist and benefit from each other’s presence in different ways.

The main target groups of the project are senior citizens and people with or without families at the beginning of their professional lives. If these different age groups could live close to each other again, they could recreate relationships that have been lost. Senior citizens 30

could help young families take care of their children while working. Senior citizens could teach young people a profession, handing down their knowledge and skills. In this way, they would not feel as if they are a burden.

The presence of young people would make elderly people feel safer, more vibrant and useful. Their health would probably benefit from being happier.

In this housing project young and older people live together in a building that oers special collective spaces and public facilities to stimulate interaction. One of the most important places is a workshop space were dierent kinds of craftsmanship will be taught.

In this building, the elderly and young people are involved in each other's lives again; a responsible society will emerge.

Graduation date 11 December 2017 Graduation committee Laurens Jan ten Kate (mentor), Ira Koers, Jochem Heijmans

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Getting there

From the other side

Open space

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Valerio Falconi

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The design of the collective areas allow the residents to colonize the space and use it in dierent ways, without providing a specific program.

Interior of the workshop

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Valerio Falconi

Schematic section of the different parts of the programme

The voids generate a new, vertical collective space for the whole building, to promote interaction between different age groups and between different users.

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All the apartments have an opening, a window that connects the kitchen with the collective space. The kitchen becomes then a buer between the apartment and the collective space outside.

Ground floor +0: acesses to the apartments cafè and workshop.

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Valerio Falconi

The collective spaces on the two residential floors are only for the residents. Opening on the void, they generate a connection with the rest of the building.

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Circular A place for a dignified end to one’s life Eric Goldhoorn There are only a few places left on earth where you can imagine yourself being decades back in time. Zervreila, situated close to Vals in Zwitserland, is one of those places. This place is characterised by important events in the recent past: after the dam above Zervreila was put into operation in 1957, the village was submerged. Zervreila now consists of a reservoir that changes every season, just like the landscape. In the spring, the glaciers melt around the lake melt, as a result of which the reservoir rises during the summer months.

Because there is more need for energy once again after the summer, the dam is put into operation again, which generates energy for the nearby village Vals.

The nature in Zevreila is unspoilt. Water flows from the high mountains along the rocky landscape to the lake. The height it tangible and the clean air embraces the silence. The rise and fall of the reservoir causes a horizontal line in the landscape. The vegetation begins from the water line. The mist moves slowly over the outstretched lake to the place where a circular building will rise from the landscape.

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Circular will connect the richly-contrasting landscape of the surroundings with the serene atmosphere of the building. People will be able to stay in Circular shortly before the self-chosen end to their life. They will be able to spend time with friends and family and make final, wellconsidered decisions, since it is possible to perform euthanasia in Switzerland, regardless of whether a person is chronically ill or not.

That currently occurs a lot at places that are not specifically intended for this. Circular provides space for a dignified end to one’s life.

Graduation date 7 June 2018 Graduation committee Christian MĂźller (mentor), Jana Crepon, Gijs Baks

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Diagonal in the landscape

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Eric Goldhoorn

Chapel water side

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Construction stone side

Stairs to the communal dining room

Construction wood side

Guest bedroom water side

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Eric Goldhoorn

The building is situated diagonally in the landscape, parallel to the slope of the mountain. The path along the reservoir provides access to the building. On the lake side, the structure stands on piles and the building is made from wood. On the mountain side, the building is embedded in the landscape and it is built from stone. There is also a divide in the interior: there is a mountain accommodation and a lake accommodation.

These function independently from each other. The sta floor is located under the accommodation storey. Each accommodation provides room for two guests with their families and houses a living room and dining room. There are also bedrooms, a chapel and a spa area. All spaces are connected by the dining and living room, as well as by the outdoor space.

The chapels are located at both ends of the structure. The guests can gather themselves in peace here. The family also bid farewell there and the surviving relatives can also return to remember their next of kin there. Because the chapels do not have an actual accommodation function, they are oriented dierently than the accommodations to which they belong: the chapel of the mountain accommodation provides a view of the lake and the chapel on the lakeside looks out on the mountains.

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Ground floor accommodation floor

Basement, staff floor

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Eric Goldhoorn

Model 1:300, powder bed 3D printing, sand substrate

Section of the chapels

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Campus Invisible Youth Shelter for young homeless people Ashkan Hashemkhani The campus for invisible youth deals with the interaction between homeless young people aged between 17 and 30. Because they do not have a residential address they are not allowed to work and have no income. They are therefore excluded from society and that is also how they feel. For this reason, this group is more susceptible to criminalisation and radicalisation, as a result of which the social and economic prospects of this group are becoming increasingly restricted. In the long term, this has an effect on society as a whole. For example, this group is a financial burden for municipalities due to the increasing care devoted to this group.

In order to pre-empt these problems, preventive attention must be paid to this often ‘invisible’ group of young people. Campus was developed for this purpose. It is a shelter that will provide space to these young people. It is a place where these young adults will feel safe and appreciated.

Through the group activities and the fact that they live together, they will be able to escape their isolation.

By placing these young people in a closed environment where mutual interaction is the key factor, they will come into contact and become involved with each other, and therefore 46

automatically with society, to a greater extent.

The ultimate goal is to allow each individual to develop, so that they become ‘visible’ to society once again.

Because Amsterdam Zuidoost (Amsterdam Southeast) has the highest number of ‘invisible' residents in the Netherlands, the campus is situated at a central, dynamic location in the park of the urban district. The interaction of the residents of the building with a wide range of people from the surroundings should stimulate these formerly homeless young adults to want to be reintegrated into society. The accessible public route that runs through and around the building is essential to this. In order to be able to transform the generally passive attitude of these young people into an active one, it is important to allow this group to reside in an environment that challenges them, where they have positive encounters with others and where they can learn and gain different experiences.

Graduation date 10 April 2018 Graduation committee Laurens Jan ten Kate (mentor), Bart Bulter, Gus Tielens

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Park view

Street view Campus

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Ashkan Hashemkhani

Kharanagh (Iran) is an example of architecture that brings about encounters

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Impression, communal patio

Terrace

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Ashkan Hashemkhani

The campus consists of six clusters that are connected with and accessible to each other by means of small alleyways. Just like in the village of Kharanagh (Iran), these alleyways function as a meeting place. The alleyways come together in the central patio: the heart of the campus.

All the main facilities of the campus are situated here, such as the teahouse, the reception and the oďŹƒce spaces.

The residents live and work in the other clusters. The living room, the kitchen and the workshop are on the ground floor of each cluster. Each of the clusters has a raised patio or terrace that is connected with the alleyways. As a result of this, the streets are given a dynamic appearance and the building an accessible and transparent character.

When the young people register with the campus, the terraces in the clusters are visible. After the registration and the intake interview, the young people can report to a coach. The coaches arrange a tour through the campus, show the new residents their bedroom and discuss the daily schedule. The bedrooms are located on the dierent floors of the clusters. The centrally located patios provide access to all spaces in the cluster. An open staircase in each patio gives access to the floors. The patios not only provide light, air and space in the building, but also ensure there is a vibrant environment, in which a clear layout, contact, movement and connection arise. The two trees in the building extend over the full height of the cluster and allow the park to continue into the campus.

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Floor plan, second floor

Model, ground floor

Section, clusters, square and park

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Ashkan Hashemkhani

Workspace

Kitchen and living room

Bedroom

Fragment facade

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The Bread Factory Compact housing, large-scale living Maarten Hoeijmakers An increasing number of people want to live in the city and the houses are becoming more expensive, as a result of which the city is increasingly a place for the rich. This can’t be allowed to continue unabated. The question is how we can handle this in a different way.

I believe that there is a better, more social and collective manner to change cities from within and transform them into cities of the future.

In the city of the future, growth, increasing density, flexibility, hybrid boundaries and interweaving of functions are possible. This is all about the human as part of the collective.

Private space is swapped for collective space; property is seen as part of a greater whole.

In many cultures, fraternisation, solidarity, love of one’s neighbour and friendship is reflected in eating together and sharing bread. That makes the old Broodfabriek (Bread Factory) in Utrecht a perfect starting point for this new way of living.

Through a reduction in scale on each level, new neighbourhoods are designed as a city and new housing blocks as a neighbourhood.

Homes become rooms and form part of a larger building. In this way, the boundaries between public and private become blurred or they are 54

ordered dynamically and differently. It brings people closer together in an innovative manner: they learn from other cultures and ways of living, while the qualities and needs of each individual are the main focus.

Each housing block is like a type of neighbourhood, a souk or a social factory.

All residents have the key to the gate, but outsiders are also welcome. Every resident has his or her own room (home), but also form part of the community. Neighbours know each other and are dependent on each other, to a greater or lesser extent, as part of the whole.

The ‘neighbourhood’ has a high density and is flexible, multifunctional and hybrid in its transitions. The rich in-between world becomes visible in the architecture and on each scale: from the individual room to the bond with the city.

Graduation date 8 March 2018 Graduation committee Uri Gilad (mentor), Machiel Spaan, Bruno Doedens

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Axonometry of the first floor with square. The residential block is like a neighbourhood with streets and squares, benches and flowerbeds. It is a collective entity as a building and in use.

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Maarten Hoeijmakers

Section homes. Homes are compact and flexible, and provided with all basic needs. They can be inhabited by individuals or shared with numerous people.

The ground floor is public and collective, and has the following themes: knowledge, craft, culture, food and drink, and sport and relaxation. The spaces are designed, for example, as workshop, library, nursery, restaurant or bakery.

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De Broodfabriek is the heart of the plan. Everything here revolves around eating and drinking. Bread will be baked again and there will be markets.

Cross section through the block and the connection to the existing Broodfabriek.

Vertical and horizontal connections mark the collective space in the block.

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Maarten Hoeijmakers

A development has already been planned at the location of the former bread factory: 475 luxury homes have been planned on the two hectares that will become vacant. Eight per cent thereof is publicsector rented accommodation.

In this graduation project, a social solution for the future is provided through densification and by adding a number of collective functions to the neighbourhood. On just onethird of these two hectares, more than 250 homes can be built in this plan, which are 100% social. Each one of them makes use of electric shared cars and house 10,000m2 of collective spaces, such as a restaurant, a bakery, a swimming pool, a workshop, studios, a theatre and vegetable gardens. In addition, a spacious roof landscape will be created, that is accessible to everyone.

This manner of dealing with building, developing and living can provide new impetus to urban development. In this way, the segregation and gentrification that is taking over many urban areas in a rapid tempo can be countered.

In De Broodfabriek, the home is always the starting point.

The ideal size of the home, both privately and within the collective, is 30m2. The home has a fixed layout and also provides room for one’s own interpretation. This limitation ensures that residents do not only remain in their unit, but also make use of the collective and of each other.

This way of living is probably not for everyone.

However, it is high time we start looking at the redevelopment of the city in innovative ways. If we don’t do that, the space will only grow smaller and the prices higher.

The need is pressing.

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Transition to the city: four large gates mark the entrances to the neighbourhood. The rest of the ground floor is open and provided with collective functions.

Organisation of a residential unit. Each unit can be laid out as a neighbourhood, but can also function as a self-contained home.

Homes always border the outside air and a courtyard.

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Maarten Hoeijmakers

Roofs as collective landscape for the neighbourhood.

Housing as starting point.

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Day Twenty-One (A) Building for the Arrival Leonardo Kappel For almost two years, I had lived in South America for the sole reason of trying to start over within another culture. I started in Buenos Aires in Argentina where I lived throughout the city looking for connections to be made in order to gain a grasp of the city and find my place.

I found work at an architectural firm, which helped me ground myself through the dierent projects I did and people I met. Through these people, I then moved to Rio de Janeiro. I lived on the edges of the city in Favela da Rocinha and in other neighbourhoods; areas that are known worldwide for their bad reputation as slums where the poorest of the city are forced to live.

I was oered another perspective. When I lived there, I was surrounded by migrants from rural areas, who had moved to the city in order to create a better life for themselves and their children. To me, the favela was a tight-knit social network of connections, which helped me find housing and work within weeks. The neighbourhood had a vibrant informal economy where everyone with the will to work could do so and provide for themselves. Private buses acted as public transport up the hill and improving social security was starting to attract residents from outside bringing more facilities, such as 62

better schooling and healthcare. It was the social network that allowed me to stay in this neighbourhood and it is the social network that will keep improving it in the future.

With increasing flows of migration throughout the world, it is this network that should be facilitated and even capitalised on if we want to create healthy lively cities.

Day twenty-one tells the story of the twentyfirst day of travel of a man and his family as they arrive in a city looking for a building specifically designed for them: a building for the arrival.

Graduation date 12 December 2017 Graduation committee Laurens Jan ten Kate (mentor), Ira Koers, Hans van der Made

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Due to the glass facade that is largely open, the street continues its way far inside the building as a public walkway.

Between the columns you notice swarms of people moving.

It is a constant movement between inside and outside, city and building.

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Leonardo Kappel

There are large, high walls at the edges of the private square. The walls seem more like curtains in the way they are folded in the space.

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On the ground floor, gradually, columns turn into walls, walls turn into hallways and the space becomes more private towards the centre of the building.

The space oers a multitude of (semi-) public functions connecting the residents of the building to the people of the neighbourhood.

The walls on the first floor fold around the small private spaces, the centre of the space oers a private square. It is a meeting ground just for the residents.

The curving walls both separate and connect the residents with each other, as they are directly confronted with their neighbours' space.

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Leonardo Kappel

All constructional elements of the building are made out of wood, from the columns toward the edge to the private space in the middle.

The seemingly random field of columns support the roof construction.

The walls are therefore completely adjustable to the user's needs.

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In the collective area, the spaces are clearly separated by corridors.

The wooden walls of the communal library in the centre of the building are a darker shade. They offer openings so everyone can just walk in.

The area around the central staircase is completely illuminated by the daylight coming down from the stairwell.

Into the fold: “We only share this area with a few people”, the young man says while he looks around, “so it won’t be long before you meet everyone.”

A skylight illuminates the portal of the private fold. The window is open, the city can be heard.

The private room sounds muted, quiet.

The spaces are small, but after being on the road for twenty-one days, they immediately feel like home.

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Leonardo Kappel

Sections

Exploded view. All MEP is incorporated in the thick floor leaving the first floor as flexible as possible. Storage compartments are sunken into the floor.

Detail of constructional principle. Seeming randomly placed, the columns connect the wooden laminated floor to the roof, both following the same grid.

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Cutout of facade. The colonnade forms a buer between the city and the building.

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Dance Venue on the IJ Nadine der Kinderen It is striking that many theatres are being built at the moment, but that no new theatres specifically built for dance are being added, let alone dance theatres that form a living environment for professional dancers. Dance performances take place at the same places as theatre performances, even though the programme requirements, wishes and circumstances for dancers and choreographers are dierent. That is taken into account in this dance theatre. It is a building that supports the dance community, where dancers can train, perform and rest; there are inspirational spaces, relaxation spaces, rehearsal spaces, performance spaces, living spaces and habitable spaces.

The emphasis in the dance building is placed on the growth and creation process of the dancer and choreographer. The building is open in terms of its layout and character, as a result of which not only the users but also the visitors feel at home. Two national and three international dance companies can work and stay in the dance building. By allowing the companies to change studio every two months, collaboration is fostered. In order to be able to achieve all this, the limits of flexibility are sought in the design, while preserving the perfect conditions for dancers.

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Movement through the space was the guiding theme in the design. A dancer takes up space, through occupying a spot in the space. The building must, as it were, guide the movement of the dancers for this. Dancers often have to exert physical eort for days on end. It is an elegant, yet demanding, process of both being seen and remaining hidden. This process was the guiding principle in the design of the building.

The building is located in the new cultural cluster on the northern side of the river IJ in Amsterdam, where a space for dance was still missing. The Sixhaven marina is the centre of all kinds of movements: such as the movements of the traďŹƒc, the boat masts and the trees along the North Sea Canal. With the arrival of the Noord/Zuidlijn (North/South metro line) and the construction of a new metro station, Sixhaven is easily accessible and this area is ideally suited for a new public building. In this way, a relatively unknown section of the banks of the IJ will be returned to the city.

Graduation date 27 September 2017 Graduation committee Bart Bulter (mentor), Judith Korpershoek, Tara Steenvoorden

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The theatre is not a classical theatre in the formal sense, but a space where visitors can enjoy dance and the view of the city of Amsterdam in a relaxed and informal way. The dance building appears to be heavy and closed from a distance, but as one gets closer the volume opens up through the apertures in the facade behind the expanded metal screen.

The urban living room is a space in which the theatre and the stage are incorporated. This space is exposed to external influences that can be partly kept outside through the use of slats.

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Nadine der Kinderen

Four dierent studios satisfiy standard requirements. The theatre hall that has an orthogonal design, is fitted with mirrors and receives the perfect amount of sunlight.

This hall is also meant as a place for training.

The second rehearsal space is a space that you can only experience if you pass through the space. Due to the floor surfaces, which are varied in shape and form, the dancer is stimulated in an unorthodox way and there is a continuous interplay between proportions and scale.

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There is a swimming pool in the basement that will be shared by marina residents and dancers. The saunas, fitness and yoga spaces are separated for the dancers and the marina residents.

The workshop and sewing studio in the basement are visible from outside, as a result of which the process of creating sets and costumes can be observed.

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Nadine der Kinderen

On the basis of numerous interviews with dancers and choreographers, as well as through spatial research and my own experience in the dance world, three design criterias were formulated that would contribute to the growth and creation process of the dancers: long sightlines and experimental spaces were necessary and the spaces had to be supplied with natural light through, among other things, the use of patios.

The urban living room forms the heart of the building, where the theatre is also situated, as a part of the whole that is not closed o. Visitors, passers-by and residents can always take a look. The existing Mandelahuisje (Mandela House) will be given a new context and significance, as well as forming part of the heart of the building. The former inn will serve as a bar where one can have drinks after a performance until the early hours.

The sheltered public space in the building not only provides space to visitors and dancers, but also to local residents, such as the boat owners in the Sixhaven marina and chance passers-by. They can also make use of facilities, such as the swimming pool in the basement. In this way, they will come into contact, en passant, with dance. The dance building is therefore more than a new home and workplace for dancers. It gives an extra dimension to the dynamic character of the Sixhaven marina.

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The Mandelahuisje rests like a pearl at the centre of the urban living room of the building.

The stage is oriented towards the city. The city serves as scenery during performances. The flexible facade can also close o the space to the surroundings.

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Nadine der Kinderen

Floor, only for dancers

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Claustrum Silentium A silent spot for the city of Amsterdam Nicky Kroes I have a kitchen garden. The vegetables I harvest are the most important reason for this, but the simple work in the garden also brings calm to my busy life. In order to reach this garden, I have to cycle about five minutes. The route goes through a residential estate and continues via a dyke along the water and the meadows bordering the Bijlmermeer neighbourhood. The short bike ride to my garden is part of the calm that I experience when I am gardening. The moment that I get on my bicycle, I am busy with the garden and I forget all kinds of unimportant matters. In my graduation project ‘Claustrum Silentium’, which can be translated literally as ‘enclosed silence’, the route to the moment of silence became an important theme during the design process.

For years and years, you live in top gear, you no longer have time for relaxation. We are much too busy with everything and anything. There is a constant need for silence. Unfortunately, there is not much peace and silence in our society.

We live in a time of globalisation and a 24-hour economy. Due to urbanisation, the city will gain an increasing amount of ground, as a result of which silent spots will slowly disappear. You are searching for a spot where you can find this 78

peace and silence. Certain buildings, such as a church, a museum, a library and a convent or a monastery, traditionally oer that. You grow quiet here, because that’s the way it’s supposed to be. You can peace here, because the building gives you that feeling automatically.

Many people logically associate a visit to a convent or monastery with religion, even though increasingly few people are searching for religion. In spite of this fact, convents and monasteries are gaining in popularity. People are visiting the convent or monastery in the form of a retreat. They are looking for peace in serene spaces. A new type of building must be defined that includes all the qualities of a convent or monastery: scale, pace of life, materialisation and positioning of functions. As a result of this, the feeling of the old convent or monastery can be preserved, but it also provides space for new programme elements which modern man craves. Claustrum Silentium responds to what so many people desire: it is a spot in the city where you can escape from the hustle and bustle of daily life.

Graduation date 25 October 2017 Graduation committee Marlies Boterman (mentor), Tom Bergevoet, Martin Hopman

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The contemplation tower in the courtyard garden forms the heart of the building, after which everyone spreads out through the building.

Entrance Oude Hoogstraat. The sound and the hustle and bustle of this busy shopping street are reinforced during the route to the heart of the building.

Entrance Oude Hoogstraat. The sound and the hustle and bustle of this busy shopping street are reinforced during the route to the heart of the building.

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Nicky Kroes

Entrance Kloveniersburgwal.

The flora and fauna present around this entrance are propagated, as a result of which they become a visual and audible element in the route.

Entrance Kloveniersburgwal. One of the elements at this entrance is experiencing the flora and fauna present. The sounds of the city slowly disappear due to the rippling water.

Underground route. In the underground route, you will experience the water dripping downwards.

Entrance Oudezijds Achterburgwal.

Letters and packages can be placed anonymously in the pigeonholes.

Entrance Spinhuissteeg.

This entrance is nestled in a quiet alleyway. The anonymous character thereof is reinforced in the design.

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Yoga room in the basement.

The qualities of the existing complex become visible once again.

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Site model. The model shows the most important themes of the design: delay, stratification and integration into a former cloister complex, the Bushuiscomplex on the Kloveniersburgwal, which was used by the University of Amsterdam until recently.

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Nicky Kroes

The new cloister, a nonreligious building accessible to the public. It is located in Amsterdam at a spot where the contrast between hustle and bustle and silence is the greatest. A visit to this location can last a morning, but you can also stay for a longer period and you can even live there.

The design has three different entrances that increase the qualities of the environment already present.

The route therefore becomes a sensory element. In order to get visitors out of their daily rhythm and to ensure the moment of silence already begins when entering the building, they are led through the entrance in a delayed fashion via underground routes to the heart of the building. The route ends in the contemplation tower that provides access to other spaces in the building.

Claustrum Silentium has three types of users: the visitor for the day, a visitor for the week who comes for a retreat and the permanent resident who manages the building. In a similar way to old cloisters, there is a clear hierarchy in spaces, which indicates where the visitor is allowed to come.

The visitor for the day has access to the garden with an orchard, part of the silent chapel and can participate in yoga or sculpture lessons in one of the classrooms. The visitor

for the week has access to the following floor. They are going on a retreat and will therefore participate in the pace of life of Claustrum Silentium. These visitors have their own part of the building with sleeping quarters and bathrooms.

They can participate in all lessons and join the permanent residents at certain moments in the dining room or in the library.

Finally, there is the section with the permanent residents.

They are located in the periphery of the building and are able — in contrast to the visitors — to shut themselves away from the outside sounds.

The transition between the spaces for the different users always occurs in the same way in order to provide clarity.

The existing qualities of the Bushuiscomplex, consisting of a number of buildings, including the hidden Walloon chapel, are preserved and form a natural component of the design.

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In old cloisters, there is a clear hierarchy in spaces with regard to accessibility for the resident and the visitor.

As a visitor for the day, you enter the heart of the building; as a visitor for the week, you gain access to the following layer. The accommodations of the permanent residents border the city.

The stratification in the building.

Every visitor has his or her own spot in the silent chapel.

Delay — Entrance and route. The design has three dierent entrances, each of which forms a starting point of the moment of silence for the visitor.

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Nicky Kroes

The ‘arms’ provide a delayed entrance that stretches from the hustle and bustle of daily life to the peace at the heart of the building. The moment of silence already begins, therefore, outside the building.

The contemplation tower. All underground routes to the heart of the building end at the contemplation tower. The tower provides a further delay. The visitors spread out thereafter. Top: Entrance Oude Hoogstraat. Left: Entrance Spinhuissteeg.

Right: Entrance Kloveniersburgwal.

Delayed underground route.

The underground ‘arms’ provide a delayed entrance and the transition between the hustle and bustle of daily life and the peace at the heart of the building.

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Celebrating Speed A redesign for Circuit Zandvoort Jaap Leek Circuit Zandvoort has a varied kinetic dynamism, from the unspoilt dune landscape and the sea that contrasts with the modern technology of the circuit. It is simultaneously a place of stillness and a place of speed. The circuit is inextricably linked with Zandvoort and has been seen as the motor sport Mecca of the Netherlands for decades. What began in 1938 as an improvised street race has developed into a circuit park that is praised by motor sport lovers all over the world due to its route through the dunes. The circuit was originally built to cater for Grand Prix Formula 1, but the facilities are outdated and have insuďŹƒcient capacity. It also no longer meets the current safety requirements for such a global race. Moreover, the accessibility of the area is unclear.

Due to the growing popularity of Max Verstappen, there are plans to bring back Formula 1 to Circuit Zandvoort. The design provides space for this sports event. At the same time, the area is laid out and made accessible in such a way that the circuit can be used throughout the year for all kinds of events.

By locating the park with its facilities on the boulevard and the beach of Zandvoort, it will become more accessible and more attractive 86

to visit. By using architecture, an attempt is made to strengthen the dialogue between the visitor and sources of speed present in the surroundings.

Graduation date 22 August 2018 Graduation committee Marcel van der Lubbe (mentor), Machiel Spaan, Bruno Doedens

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The strip connects all the diverse elements and programmes from the surroundings and strip adapts to the boundary conditions that are dierent per zone.

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Jaap Leek

The pit building provides space for Formula 1, but can be used throughout the year for various public events.

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Section pit building, circuit and main grandstand

Floor plan beach pavilion

Floor plan pit building storey

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Jaap Leek

Boulevard and beach pavilions

Interior beach pavilion

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Aerial photo current situation Circuit Zandvoort

The strip cuts through the dunes and is experiences as a through route due to its appearance. Programmes and infrastructure tie in with this or traverse the strip.

Entrance Circuit Zandvoort

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Jaap Leek

Infrastructure — capacity Situation — integration of traffic junction

Buildings parallel to the coastline

The straight section will be rerouted and extended. As a result of this, more space will be created in the central area for the new pit building. In this way, the circuit can satisfy the requirements once again.

The strip is perpendicular to the dominant structure, as a result of which the circuit park with all its facilities is located in the public space of Zandvoort.

A strip will be introduced that stretches from the sea to the dunes. This strip will connect the various programmes and landscapes.

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Fortress Heat Geothermal power station and thermal baths on Ameland Vincent van Leeuwen Fortress Heat, located in a nature conservation area on the island of Ameland, combines a geothermal power station with thermal baths that are heated by the same spring. It is a refuge for nature lovers and mudflat walkers.

Based on the fascination for the contradictory actions of humans, such as wanting to live in an energy-efficient way but not knowing how, a quest to connect those two contradictory elements by means of a spatial assignment arose. The lack of contact with the source of energy is, in my opinion, a reason for our powerlessness. In Fortress Heat, the spatial and sensory are actually connected with the energy source. In this way, I want to contribute to raising awareness of energy usage and energy flows, thus playing my part in the energy transition. While energy production and the appreciation and preservation of nature often do not go hand in hand, they will coexist in the design. There is an excellent opportunity at the location of Fortress Heat, because a static energy source (gas drilling well ‘AME-01’) can be found there, which is surrounded by young nature. The location serves as the basis for the reinforcement of the relationship between 94

the energy source and the spatial qualities and values of the landscape. There is also a desire from Ameland itself to be a pioneer in energy transition. The island is positioning itself as a testing ground for the rest of the Netherlands.

Fossil fuels will soon be a thing of the past and self-suďŹƒciency a fact.

Fortress Heat is a refuge in the journey through the nature conservation area. The spaces are directed towards specific parts of the environment. It is a place to stay the night and to subsequently be woken by the heat of the morning sun. You can dine there with a view of the mudflat walking route and the Wadden Sea. You can experience the hot water, a residual product of the geothermal power station, in the thermal baths. Subconsciously or consciously, you will reflect on nature, life and energy there.

Graduation date 21 September 2017 Graduation committee SaĹĄa Ra enovi (mentor), Jeroen Atteveld, Berdie Olthof

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Entering Fortress Heat is physical as a result of encountering and climbing the ledge.

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Vincent van Leeuwen

The directed spaces will ensure there is a clear relationship between the ‘entity’ and the context. The surroundings will, for example, be framed like a painting here.

By entering the thermal baths, you will, as visitor, become part of the energy that is produced there. The baths are heated with the residual products of the heating network.

As a public amenity, the visitor can wash and get changed in the recesses of the buildings. It therefore becomes a valuable point in the journey of the mudflat walkers.

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At a depth of 3.5 kilometres at Ameland, there is a favourable combination of a water-permeable layer (aquifer) and a high geothermal heat (more than 150 degrees Celsius).

Following the crossing from Holwerd to Ameland, you will arrive at the Oerd nature conservation area with the De HĂ´n mud flats to the right thereof. The existing drilling platform AME-01 is in the circle.

View of the De HĂ´n mudflats in the direction of the Wadden Sea. To the left is the dyke body around the AME-01. On the far right is part of the Oerd nature conservation area.

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Vincent van Leeuwen

Fortress Heat consists of a geothermal power station, thermal baths, a restaurant and overnight accommodations. It will mainly be visited by mudflat walkers. They can stay the night or continue their journey from here. In addition, it is also accessible to visitors who simply want to get away from it all in one of most beautiful regions in the Netherlands.

However, the fundamental idea is: in Fortress Heat, the spatial and sensory are connected with the energy source.

The building is like an echo of the existing gas drilling platform. The square slab was taken as the starting point for the design of Fortress Heat and therefore instead of the concrete surface area of 100 by 100 metres, a compact surface area of 50 by 50 metres remains. In addition to the reference to the old platform, the strict form is a powerful addition to the rugged nature of the surroundings. In the middle of the area, two geothermal wells mark the heart of the Fortress Heat. The pits and the heat that is extracted therefrom are the reason that Fortress Heat is able to exist.

As an ode to the source and as first point of contact with the heat, the spring is surrounded by the publicly accessible outdoor pool.

The building manifests itself around the geothermal springs. It has a solid plinth that forms the border between the oshore platform and the landscape of Ameland.

This element gives the nature the space to freely grow and reclaim territory. From De HĂ´n mudflats, you step onto the base of Fortress Heat, which leads you through all building elements on this level. It is a zone between dune landscape and the lower-lying drilling platform. An encircling corridor that runs through all building elements, is also located a level lower. This internal circuit is a sequence of enclosed spaces with a view of the central geothermal spring here and there.

The habitable rooms are located on the plinth. From these elevated spatial spatial building elements, you look out over the landscape and you enjoy the panoramic views. The spaces are light and furnished with warm materials and have a clear orientation. It stimulates a secluded but grounded accommodation.

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Fortress Heat is located in the young dune landscape of East Ameland as a connecting and protective structure.

Energy production and the appreciation of nature will be combined there.

The section above shows the geothermal power station to the left and the restaurant to the right. The bottom section shows the outdoor pool to the left and the overnight accommodations to the right.

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Vincent van Leeuwen

The basement of Fortress Heat. The encircling corridor that leads the visitor along the sleeping quarters, the restaurant, the thermal baths and the geothermal power station is a connecting element.

The circuit is also clearly shown on the ground floor. In addition to the logistical function thereof, it also shapes the bordering spaces and directs the gaze of the visitor.

There is a view of the adjacent dunes from the habitable rooms situated higher up. There are panoramic views towards the Wadden Sea, the mudflat walking route, the island of Schiermonnikoog and over Ameland itself.

Model.

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Wolvenplein Refuge An outside inside the city Roy van Maarseveen I have been fascinated by places that are neither public nor private; interspaces that mediate between multiple worlds, places where the continuity of everyday life is absent; that are not a direct part of our society; and that function according to their own system. The assignment — the repurposing of the former prison Huis van Bewaring Wolvenplein in Utrecht — is about such a place. The prison is now closed; the cells served as studios until not so long ago. One of the cells was my refuge during the formation of my graduation project.

The Wolvenplein, built in 1853, is the oldest prison divided into wings in the Netherlands.

The complex is situated at the head of a former bulwark within the Singel city moat of Utrecht, where it seems to form part of. However, it was never truly part of the city. In this project, the complex will be given a new significance for the city. During the period that I was ‘locked up’ at the location, I started to appreciate the character and various aspects of the building.

Being able to stay there in isolation, without having any notion of the city around you is an example of this.

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In our increasingly busy society, we are continually in motion and we are overloaded with stimuli. As a result, the need to seek refuge from that sometimes arises. Vacant prisons appear to be ideal places where you can briefly escape the city.

By means the interventions of clearing, breaking through and admitting, various parts of the building have been transformed without any of the original character being lost. By removing bricks at specific places, the historical stratification will become visible, new openings will be created where steel frames used to be and through the addition of wooden elements, space will be created and left open to change.

The organisation and interventions follow the template of the dierent degrees of freedom of the original prison. For example, more interventions were made at the site of the facilities, while the cells were left almost the same. The building is organised like a filter from outside to inside: from the encircling walls to the individual cell, the experience is all about becoming increasingly released from society.

Graduation date 11 September 2017 Graduation committee Tom Frantzen (mentor), Ana Rocha, Jeroen van Mechelen

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Catching one’s breath. A place to simply be oine for a while.

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Roy van Maarseveen

Entering. The wall with the gate between the city and interior of the Wolvenplein.

Walks. The bulwark will be connected at urban level with the Zocherpark and the rest of the Singel.

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The building is organised like a filter: from the public city, and after passing through increasingly thin passageways and increasingly private spaces, you finally reach the individual cell.

The transformed complex retains the existing characteristics: the ‘greened’ bulwark with the characteristic ring wall, the plan of the former prison and the location of the accompanying facilities.

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Roy van Maarseveen

Imagining. The existing church hall will become a theatre and cinema.

There will be a stand where the cages for the prisoners once were.

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Grounding and purifying. The basement with the former boiler room, wash rooms and clearwater basins will be transformed into a bathhouse with sauna, baths and exercise room.

Isolating. The ‘sacred’ cell wing with stairs will be restored in all its glory as a route to the individual refuge/breathing space.

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Roy van Maarseveen

Adding wooden elements to the existing building, new space is being created.

Developing. The former workshop will be a room for creation and exhibition by connecting it with the work rooms and adding a roof.

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Ground for contemplation An indigenous ensemble that paves the way for recovery from a burn-out Dennis Meijerink I have noticed that many people in my immediate circle have diďŹƒculty living up to the ideal image put forward in our society. The feeling that you have to perform at every moment dominates. That leads to the continuous testing of limits. In this scenario, one can easily lose oneself, leading to ever-decreasing energy and motivation in relation to work and family life.

Burn-outs are commonplace. Because many people go on retreats or into treatment, a new type of architecture needs to be introduced that contributes to the recovery.

With ‘Ground for contemplation’, I have created a spatial alternative to a temporary type of housing: a retreat, in which architecture and its materialisation provide a boost to the support of the patient in his or her recovery process. It is an indigenous ensemble in which 32 patients can retreat from the daily stresses of life and find a place to relax, recover and recuperate. It is a place that occupies a gentle and understated position in the hilly landscape of South Limburg, and that is in line with the character and the movement of the lynchet landscape at the Kruisberg hill in Wahlwiller.

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The complex is built of loam that creates a greater awareness of the surroundings. The material also ensures that people can ground themselves better and empty their mind for contemplation. Loam architecture lives, it breathes, it is circular and it displays visible changes over time. The design of the spatial experience of the ensemble was a quest for the dialogue between human, material and landscape in order to be able to contribute to the rediscovery of energy and interaction with others.

In the design, water represents change, contemplation, movement and encounters.

These elements are spatially translated in the ensemble. In addition, water acts as a connecting factor between the eroding lynchet landscape and the dierent programme components in the building. The expression of the loam architecture that is continuously changing and being transformed through erosion, thus forms a visual manifesto; it represents the change that patients undergo in this phase of their life.

Graduation date 30 October 2017 Graduation committee Machiel Spaan (mentor), Herman Zeinstra, John Lonsdale

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You become aware of your surroundings at this place, because you can ground yourself and free your mind for contemplation.

Living quarters situated with its back to the lynchet landscape.

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Dennis Meijerink

Water symbolised change, contemplation, movement and encounters.

The water is the recurring theme in the entire ensemble and stimulates movement.

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Scale model ensemble (concrete and wood). The water system forms the connecting factor between the landscape, the programme, the architecture and its materialisation.

Section of the walking line that shows how the ensemble is approached, how you move through it step by step in order ultimately leave it once again.

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Dennis Meijerink

View from the south on the lynchet landscape and the loam ensemble at the Kruisberg.

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In the sitting room, the fireplace and the stairs give the house a layered quality and foster the feeling of privacy.

Eroding loam changes colour and texture.

The ceramic erosion lines give the whole expression and a layered quality.

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Samples of colour, texture and composition of rammed loam from South Limburg.

Dennis Meijerink

Scale model living room (wood and sand).

Scale model facade fragment (loam, concrete, wood).

The living quarters and gallery are built up out of concrete floors, columns and beams, rammed loam walls and oak frames.

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Track A social-interactive machine on the tracks from the past Jeroen Pot I have always been fascinated by industrial heritage and buildings that were built in another time and often for a specific purpose. It was therefore natural for me that I felt attracted to an industrial location like the Wagenwerkplaats in my city of residence Amersfoort.

The Wagenwerkplaats is a former maintenance workshop for trains. Until now, the site could not be developed due to the restrictions associated with the environmental permit of the railway yard. However, the environmental permit now oers scope for development. A unique opportunity has therefore arisen: the size, the location in the city and the appearance of the historic buildings make the Wagenwerkplaats a unique development site.

Between the Hoofdgebouw (Main Building) of the Wagenwerkplaats and the Rijtuigenloods (Carriage Shed) — both listed buildings — there is a void. There are tracks present that connect the two buildings with each other. In the past, there were train carriages here, which were driven inside via the high industrial doors for maintenance and repairs. The rails are now tracks from the past and show how the area 118

functioned in the past. Because the area of the Wagenwerkplaats still requires an attractive public meeting space, TRACK will be developed on this existing piece of track between these listed buildings. It is a social-interactive machine that responds to the social and cultural needs of the time and the environment. The existing piece of track, the ‘rolling track’ with the rolling bridge belonging to it, was a unique and essential tool for the railway company, since it was possible to move the carriages to specific locations in the Wagenwerkplaats via this rolling track. Through TRACK, the location of the rolling track will not only be given a public function, but these characteristic surroundings will also provide this central location with great appeal. Everything appears to converge here. From the heart of the Wagenwerkplaats, the rolling track together with the social-interactive machine TRACK will reactivate the tracks and the surroundings by means of activities and events.

Graduation date 29 May 2018 Graduation committee Saša Ra enovi (mentor), Miguel Loos, Albert Herder

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TRACK is a cinema, a presentation space, a theatre

TRACK is a skate park, a tennis court, a volleyball court, a football pitch, an activities arena

TRACK is a recreational space, a sports park, a skating rink

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In order to be able to develop the Wagenwerkplaats, the Wagenwerkplaats Master Plan was drawn up. A route for the access traďŹƒc runs through the area.

Three open zones are situated adjacent to this route, as a result of which the relationship with the track remains tangible. The location for TRACK is situated at the heart of the Wagenwerkplaats in one of these open zones between the Hoofdgebouw (Main Building) and the Rijtuigenloods (Carriage Shed). In the adjacent streets, people will be able to shop and work, and there will be terraces. An additional feature must be introduced precisely where these streets converge in the central open zone and where the rolling track is located in order to activate the area.

1. Hoofdgebouw (Main Building) Wagenwerkplaats 2. Rolling track 3. Rijtuigenloods (Carriage Shed) 4. Access traďŹƒc 5. Street with creative activities 6. Green space (existing) 7. Desire path / food trains 8. Connection to Hoofdgebouw (Main Building) Wagenwerkplaats 9. Connection to Rijtuigenloods (Carriage Shed) 10. Connection to Amersfoort station 11. Marshalling yard NS 12. Park 13. New street with residential building and mixed functions in plinth

1. Connection to Amersfoort station 2. Fountain 3. Playing field 4. Rolling track 5. Sunken sitting area 6. Elements to be activated 7. Sunken activities field 8. Sandpit

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Jeroen Pot

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TRACK is a vibrant place where young and old can enjoy themselves. The involvement of the local residents with this meeting place will strengthen their connection with each other, have a positive influence on the atmosphere in the neighbourhood and boost the quality of life.

Local residents with access to the TRACK app can activate elements of the social-interactive machine themselves. TRACK will also be used by schools. Teachers will have the power to temporarily take control and will have access to elements, such as the stands and a collapsible screen. Through the connection with Amersfoort station, which is centrally located in the land, the place will also be interesting for large events.

1. Extendable stand 2. Collapsible screen 3. Hydraulic system 4. Cylindrical roller bearer 5. Gutter, roof 6. Gutter, collection tray 7. Wheel, closed roof 8. Wheel, open roof

TRACK past will adapt its shape and size to the various activities and events. In specific locations, elements like strands or a collapsible screen can be pulled out from the roof.

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Jeroen Pot

1. Long side of roof with solar panels 2. Short side of roof with glass 3. Storage energy / hydraulics 4. Foot with lighting 5. LED strip 6. Elements to be activated

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Matière et Mémoire A new Agora in Middelburg Joost van der Schoot Theatre was uncharted territory for me. The examination of Ancient Greece, the era in which theatre and its architecture came into being, was enlightening. This theatre world of the Ancient Greeks and Romans turned out to be a magical and miraculous world: the theatre was, unlike now, a broadly integrated part of society, religion and politics. The Agora, the Greek city centre, and the theatre were connecting factors in society. Creating Greek tragedy brought people together and was of great social importance.

The Agora was a place for public debate, trade, celebration and theatre.

During the Middle Ages in Middelburg, the location of this project, theatre competitions between different villages were held, similar to Greek culture, which took place in or around the church. Although these factors have been the foundation of theatre since ancient times, these can no longer be found in contemporary theatre.

For example, the theatre in Middelburg is a long way away from its residents: the theatre gives people no cause to visit and it is unclear what the theatre would have to offer. The theatre no longer cares about its audience.

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This is made even more visible due to the fact the theatre is located on the outskirts of the town, like a closed, insignificant building.

Inspired by these ingredients from the long, rich history of theatre and by examining contemporary theatre, I came to the conclusion that the new theatre needs to be a building that is a lot more than just a theatre. The new Agora is the design of a new heart for the city, which theatre will form part of. The new Agora or the new city centre for Middelburg is a house for the city, a flexible machine where all connecting elements of public debate, theatre, celebration, trade and daily use come together in an elementary structure. The building is like a statement from one of my favourite writers Walter Benjamin: It is “a building that gives the city an interior�. The open structure lends significance to the entire city, as a result of which it will lodge itself in the collective memory of the city, of which theatre and celebration are the foundation.

Graduation date 17 July 2018 Graduation committee Rob Hootsmans (mentor), Ronald Klamer, Patrick Koschuch

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A new Agora: an elementary, flexible structure in the centre of the city. A heteronomous theatre that lodges in the collective memory of the city. A new interior for the city.

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Joost van der Schoot

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The new Agora is a new city centre on the historic city ring of Middelburg. It is much more than just a place one passes through, like the current city square. The cultural functions, which are now spread throughout the city, will be housed in a concentrated way in the new city centre.

The new Agora as a cultural and social connecting element in the active city centre.

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The ideal theatre assumes, in its openness, the role of awareness raiser of reality and instigator of debate.

Because reality is reflected in the theatre and the theatre maker demonstrates a vision on reality, the theatre challenges the spectator to adopt a position with regard to society. As a result of this, the spectator takes a stand.

That today’s theatre instigates debate less often than would be desirable is down to the social developments that are influencing society, and therefore also the position of the theatre in society. People increasingly reach for easy temptation and entertainment.

The theatre can, due to the fact that it claims the time of the spectator more deliberately than other media, take its time to tell a story. And because it can take this time, the theatre does not have to polarise, but it can show the arguments and consequences, for example, of social conflicts. Theatre does not have to fulfil immediate social goals. It works in a different time and to a different rhythm. Theatre helps slow things down; it can dwell on those things; it can take its time to tell a story. These characteristics of the theatre can be used to fathom the complex material of reality.

“The modern world has an urge to bring everything closer. An urge just as fiery as conquering the uniqueness of reality through allowing the reproduction thereof.”

Walter Benjamin “In fast-moving times, we must not fall for the easy temptation when we are scared of losing grip on our time.

This temptation legitimises its superficiality.”

Franz Kafka

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The new Agora has a structure like an open city square.

The open structure provides space for an important programme in the city: the market.

The central space can be utilised for various types of use that are important to the city.

The generous spaces around the central hall can be used as backstage, entrance and foyer.

As a result of its flexible layout, the building can function as a large building.

In this configuration, the space can also accommodate large annual events.

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Joost van der Schoot

Visitors of the market walk over the theatre floor in an open configuration of the structure.

The central hall can be closed o for theatre performances.

The modular floor can facilitate various seating arrangements.

The generous building will provide shelter for homeless people in the winter.

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From One Room to Another A new inclusive living environment with attention for people living with dementia and their loved ones Christiaan Schuit From One Room to Another (Van Kamer tot Kamer) is an alternative to the current residential environment of people with dementia. Due to the major changes in our healthcare system, this exponentially growing and vulnerable target group is at risk. Increasing cuts are being made to the healthcare setting and living environment of care homes, which is resulting in dementiaunfriendly living conditions. The care homes often have long, confusing corridors, dark spots and oer little room for social contact. The residents are therefore slowly losing connection with their environment. At the same time, higher care needs assessments are leading to delayed admission to care homes. This target group is therefore forced to live at home increasingly longer, while this environment is not designed for dementia. It is an unsustainable situation for all parties concerned.

Imagine if we, as a society, together decided to no longer admit people with dementia to care homes at all, but to let them live at home.

How would we then connect them with their residential environment, that is to say the collective and public space, neighbours, friends 134

and family? And what does this mean for the spatial qualities of the home and the residential environment? For anyone who has experienced closed up what it’s like to live with dementia, these questions are relevant. As a designer, I felt compelled to go in search of an alternative in which there is an understanding of dementia on the basis of the space.

A new dementia-friendly residential environment will be introduced in the Spaarndammerbuurt district. A series of ensembles will place the emphasis on making connections. Together, they will form a safety net in the neighbourhood. This residential environment will stimulate relationships and encounters with the neighbourhood, so that people with dementia will remain connected with their living environment. At the same time, the design will give something back to the neighbourhood: an inclusive city.

Graduation date 9 May 2018 Graduation committee Albert Herder (mentor), Gus Tielens, Henri Snel

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Homely room — people with (mostly severe) dementia will be connected with the home here through sensory perception.

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Christiaan Schuit

Urban room — people with (mostly light) dementia will be connected with an invisible safety net of clear square- and neighbourhood-oriented functions in the city.

Collective room — people with (mainly mild) dementia will meet and be connected with neighbours, friends and family on a building level.

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Housing typology — home with partner, family or carer.

Rooms and transitions — spatial structure based on the human perception.

Section ensemble — spatial quality of the rooms in view.

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Christiaan Schuit

The basis of the design is formed by a clearly designed room that forms a clear boundary and transition between dierent rooms.

The room highlights a function in each case, as a result of which the experience is enhanced and the space is made comprehensible for the resident. It enables them to experience a feeling of connection with their residential environment.

By placing these rooms one after the other, an enfilade of rooms is created, as a result of which people with dementia can easily find their way. The open connections between the rooms provide an overview and it also incites movement.

Senses are stimulated, because smells and sounds permeate the spaces. As a result of this, residents are encouraged to remain curious. The room is utilised on all scales, as a result of which the design acquires a strong identity. It can therefore be recognised everywhere from (homely) room to (urban) room.

In order to be able to take care of the residents, the focus will be on densification and informal care. Because a diverse range of residents will live together, both students, families and elderly people, it is possible to keep the daily shared care burden for the resident with dementia low.

Residents are prepared to

arrange this care together.

Giving informal care will become more accessible due to the existence of collective rooms where residents meet each other informally. These spaces each have their own character and serve as a distinguishing feature. The homes of the residents with dementia border on these collective rooms.

The dierent urban ensembles are anchored on a larger scale, because they are connected with known spots in the neighbourhood.

Neighbourhood-oriented functions in the plinth around the urban rooms appropriate to the sport contribute to this further. The functions are part of the healthcare and residential programme, which the caregivers can also make use of.

An internal network, consisting of urban rooms, inspired by the urban plan of the Spaarndammerbuurt district, will connect the various ensembles and neighbourhood functions. The network of the neighbourhood and its residents will form the safety net for people with dementia. Everyone will get something back for it, namely a vital and inclusive residential environment.

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Door de ogen van dementie — versterken van de perceptie en zintuigen om de kamers begrijpbaar te maken.

Site drawing vegetable garden ensemble — urban room with orchard and neighbourhood-related functions in the plinth. Each ensemble has its own function and character.

Private and public — transitions from collective to home, from home to bedroom.

The transitions reinforce the contrast between the various rooms and functions, as a result of which the spaces are comprehensible and clearly laid out.

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Christiaan Schuit

Fragment — architectural elaboration.

Assistance — the internal network of urban rooms forms the safety net for people with dementia. These urban rooms connect them with the living environment.

Senses and transitions — the smells and sounds spread through the home from the kitchen via open connections and they activate the senses. It enhances the perception of time and space, and it stimulates curiosity.

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Liquid Life Life in a time without structure Luuc Sonke We live in a time in which the world around us is changing constantly and increasingly rapidly. Subjects like education, politics, love, community or work are continuously in motion, particularly under the influence of digital developments. Traditional institutions, such as the neighbourhood, the association, the church, the school or the traditional family are disappearing and society is becoming highly individualised. We no longer want to conform to certain expectations; we want to be autonomous and decide how we organise our lives ourselves.

Thanks to technological developments, we are less and less connected to a place. We can work anywhere and come into contact with other people. Distance and place have acquired a dierent significance. Life is increasingly free, but has also become increasingly uncertain. Our being and our use is fluid. The project name Liquid Life is derived from the 2005 book of the same name by the Polish sociologist Zygmunt Bauman. The term ‘liquid’ is the metaphor that he uses to indicate the constant changes and uncertainties in our lives.

The project Liquid Life is about designing polyvalent spaces; about designing a building with heterogeneous spatial qualities for 142

a heterogeneous residents’ association.

In architecture, the emphasis is still placed on functionalism, on separating functions, use and activity. The design process has therefore become stuck and it’s no longer possible to anticipate familiar behavioural patterns or certain residents’ associations. Today’s architect must be able to design for the unexpected, the fluid, the unknown.

Liquid Life is designed with two elements: the continuous wall and staggered floor sections.

The basis of the design consists of a cubeshaped volume, divided into various spaces that are subsequently interlocked. Floors are placed in overlapping areas created as a result of that.

Continuous walls that run through the entire building are erected along these floor sections.

Atmospheres and functionalities are connected to these walls. These form sculptures or ‘objets trouvé’, in which a range of spatial qualities are hidden. It yields a spatial complexity that is difficult to comprehend. Only partial control over the design can be gained in the design process.

Graduation date 9 May 2018 Graduation committee Laurens Jan ten Kate (mentor), Jarrik Ouburg, Herman Zeinstra

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The building provides accommodation for about 50 residents.

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Luuc Sonke

The building is a labyrinth of walls in which the residents find their place.

Separations between private and collective are created through several permeable walls.

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The various walls of the building run from the bottom upwards and each have an atmosphere and function.

The building is the result of interlocking volumes, after which floors and walls are place on the intersecting lines.

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Luuc Sonke

Floors of various heights are placed between the walls, as a result of which high and low spaces alternate.

Plan of fourth floor

Axonometry of fourth floor The walls are materialised dierently and each fulfil a unique function.

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By designing suggestive boundaries, various activities can take place in a space.

The constant dierences in level and changes of high and low spaces mean the building is rich in conditions.

The roof is a landscape of terraces with inner gardens, seating areas and atriums.

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Luuc Sonke

The building has a secondary structure of columns.

An atrium is placed centrally in the building, as a result of which more light falls in the interior of the building.

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Noorderpark Church A public building for the Pentecostal movement Gerben Strikwerda The Noorderparkkerk (Noorderpark Church) is a public building for the Pentecostal movement, a socially engaged movement and visible church in Amsterdam-Noord (Amsterdam North).

The Pentecostal movement is a charismatic Christian community that has existed now for approximately 100 years. It is the fastest growing church worldwide, in contrast with the traditional churches that are losing many followers. An important characteristic of this movement is the engagement with society demonstrated. The biblical task of caring for the less fortunate is a key element within the community. In addition, the church sees it as a calling and necessity, with the introduction of the relatively new Social Support Act, to assume an increasing number of care duties, which previously fell under the responsibility of the government.

The Pentecostal movement has its own customs and rituals. An important one is the symbolic ritual of the baptism when a member adopts the Christian faith. The baptism represents rebirth. Although the Pentecostal movement is booming, likes to be in contact with society, is very socially engaged, and applies its own customs and rituals, there is 150

not yet an architectural model for a church for this movement. The traditional church building does not reflect the customs and rituals of the Pentecostal movement. There is a need for an open and accessible model in contrast to a closed model.

The various programme components, namely the social programme and the religious programme, and therefore the users, come together in the Noorderparkkerk. The openness of the church also serves to introduce visitors to the Pentecostal movement.

Graduation date 14 December 2017 Graduation committee Florian Schrage (mentor), Jeroen van Mechelen, Hans Hammink

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Terrace of the cafĂŠ by the water.

Sections

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Gerben Strikwerda

A public route from the nearby metro station to the park runs through the building.

Baptism space with altar.

The religious programme is visible from the public route.

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Patios provide extra daylight and greenery inside the building, so that nature can be interwoven with the building.

The building is positioned at an intersection of park routes in the Noorderpark for optimal visibility and interaction.

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Gerben Strikwerda

The Noorderpark consists of three parts that are intersected by the Noordhollandsch Kanaal (North Holland Canal) and the Nieuwe Leeuwarderweg.

The middle part has the least pronounced character. It is the ideal location for the Noorderparkkerk because there is a lot of greenery and peace there. The building is positioned at an intersection of park routes. A public park route runs through the building from the metro station. In that way, the church is not only optimally visible, but as much interaction as possible can also take place between visitors.

The Noorderparkkerk is extremely transparent and is therefore dierent to a traditional church: a holy temple that excludes the outside world, as a result of which what’s going on inside is not visible.

In the case of the Pentecostal movement, people believe that mankind itself is the temple of God. For that reason, there is a greater need for an open and accessible model with which the movement can be in direct contact with society.

The Noorderparkkerk is made up of a structure of disks that are perpendicular to the walking direction. As a result of this, there is a view of the programme elements. The arch structure provides access to and a view of the underlying programme. The size and height of the arch is dependent on the function and the corresponding spatial quality.

The arch shape gives a feeling of security and suits the nature and function of the building very well.

All religious functions are placed by the water: the foyer, the church hall and the baptism space. The more social functions are to the right of the public route: the diocese, the nursery, the workshop with shop and the psychological assistance.

The ritual of the Pentecostal movement begins with a first meeting, followed by a worship service. When someone adopts the faith, the baptism follows. Patios are placed as symbolic moments of reflection between each phase of the ritual.

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Ground floor

First floor

The ritual from seeker to believer.

The building is made up of a structure of disks that are perpendicular to the walking direction. Due to the large amount of glass, the building opens like an accordion when one moves past it.

Facade fragment and section

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Gerben Strikwerda

Main entrance from the metro.

Second floor

Baptism space with opportunity to baptise outside.

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Concordia The greatest level of craftsmanship Natalia Sułkowska-Bakker We are citizens of the world; we travel long distances and seek new adventures. But there are always places stored in our minds and close to our heart where we want to go back. For me this is Bolesławiec, my hometown. In the last decades, Bolesławiec has been changing into a creative town. At the time I lived there, I discovered my passion for art. The character of the town shaped who I am now. After years of being abroad and broadening my knowledge in the field of art and architecture, it is time for me to give something back to Bolesławiec.

Since the beginning of its existence, it has been a typical industrial town. The tradition of industries continues, but it is fading. Currently, the town is on the list of ageing towns. It is losing its identity and there is no consideration for heritage and architecture. Despite these problems, there are also opportunities hidden within the town: the use of its geographical location; natural resources; culture; and the most powerful opportunity: craftsmanship.

With my graduation project, I would like to show the people, and especially the inhabitants of Bolesławiec, how important it is to care about heritage and architecture; how good architecture can influence a town and what it can mean 158

for its inhabitants. I would like to change their perspective towards craftsmanship. The greatest underlying ambition is to keep and bring the young generation back to Bolesławiec and, in doing so, to bring Bolesławiec back to life.

As a start, I chose the most powerful opportunity that my hometown has, namely craftsmanship, and a perfect place: Concordia, an abandoned textile factory. I decided to transform this historical post-industrial site into an open, public University of Craft. As a framework, I followed my own statement with five important points for transforming existing architecture: changing meaning; studying DNA; connecting to the city; opening to the public; and listening to the building.

Graduation date 30 January 2018 Graduation committee Rob Hootsmans (mentor), Ira Koers, Gus Tielens

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A path from the garden leads to the historical courtyard.

Concept — the untouched historical courtyard is the other atmosphere outside of the building.

Concept — the new open garden.

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Natalia Sułkowska-Bakker

The transformation — view from the top floor all the way to the ground floor.

The public route — the exhibition space in the craftsman’s living room.

The exposure — the view craftsmen have while looking from the workshop to the garden.

The voids — looking from the public route into the textile workshop.

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The context — Concordia as one of Bolesławiec’s landmarks.

Craftsmanship — Bolesławiecs most powerful opportunity.

Concordia — a forgotten place.

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Natalia Sułkowska-Bakker

Concordia is one of the most recognisable post-industrial sites in Bolesławiec with its rich history of use and architecture.

The site contains an ensemble of seven buildings, each from a different era, that are shaped like a necklace around an open courtyard. Currently, nobody takes care of the complex, which has resulted in decay.

Every day, lots of inhabitants pass by this mysterious place without knowing what has happened behind its walls.

The conclusion that followed the research led to the idea of creating two extremes: two urban spaces and two atmospheres, both with a social potential to connect and educate the inhabitants.

First of all, a new open garden will connect the main green zones in the city and open the site to the city. It is a space to enjoy free time, to relax and to work. Secondly, a historical, untouched courtyard situated at the centre of the complex is an urban interior to meet, discuss, reflect and create.

It can be reached from each side of the town by continuing along existing paths that cut through the ensemble. It brings people together in a mysterious space. The necklace of existing buildings becomes a transition between two extremes: a transparent outer facade exposing the craftsmen towards the garden and a

closed facade on the courtyard, used as an exhibition for all that is made within the University of Craft. The chain of buildings is opened to the public by a public route and public rooms with educational functions.

The building elements removed create wide and functional spaces. It allows exposure and interaction between different disciplines of craftsmanship and the public.

There is still much work to be done in Bolesławiec, but this project will be a beginning of a revitalisation strategy for the city. Creating a University of Craft will preserve the tradition of craftsmanship as part of the city's culture and raise it to a higher level.

Craftsmen educated at the University could use the town as a case study by working on the buildings in town. It can make Bolesławiec well known and inspire other places with similar difficulties. At the end, this University can be the start of a network of campuses, each with their own quality, with an important side effect: keeping more young people in their home town.

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The courtyard — the most important and the most recognisable place of the whole complex.

It is necessary to retain parts of the buildings in order to preserve the character of the complex.

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Natalia Sułkowska-Bakker

The public route.

Connecting people — the voids.

Experience of the past — the courtyard.

Emphasizing the heritage — the exposure.

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Un-United Nations Headquarters The ‘Island’ of Crimea Lesia Topolnyk The research field of this project is the new opportunities emerging within interlocking realms of politics and architecture. It envisions an alternative future for areas with unresolved disputes by approaching the conflict as a situation, which could be transformed into something positive given the right conditions.

The growth of the European Union and the ambitions of the Russian Federation have placed the Crimean Peninsula at the centre of the greatest European geopolitical crisis since the Cold War. In the aftermath of the annexation of Crimea by the Russian Federation, political and social upheavals followed. In the past, Crimea was always a conflict zone, but also an important link in trade routes and an attraction to the world political and cultural leaders. Could Crimea, instead of being a zone of avoidance as it is now, become a driving force for the conflicting systems?

What can be added to foster the fruitfulness of the conflict?

The project proposes two interventions: the transformation of the naval base — the main cause of the current conflict — into a trade port, positioning Crimea as the gateway to Ukraine and Russia, and an architectural 166

representation of the Crimea’s new identity, which would help other territories with disputes.

Historically, both trade and conflict have played a large role in creating a cultural exchange and fostering collective knowledge. An archetype for this is the Greek Agora. As a combination of Crimean characteristics, a contemporary agora is introduced as a counterpart to the UN Headquarters: the Un-United Nations Headquarters.

Nowadays the heart of political institutions, the chamber, has become a decoration for rehearsed dialogues, while all meaningful decisions take place in the informal spaces.

The project aims to evolve this political institution’s typology, proposing ‘corridor-only’ model. The corridor is the practical space for negotiation, creating interactions in a different domain, but also a symbol of a journey rather than the end result. Realising the impossibility in the final 'politics of stable unity' and the inevitability of potential conflicts, instead of the utopian ideal of stability, this project proposes using a perpetual instability, a constantly renegotiated temporariness.

Graduation date 29 January 2018 Graduation committee Floris Alkemade (mentor), Peter Veenstra, Rob Hootsmans ARCHITECTURE

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The 'corridor-only' model.

The linear form of the building allows one to experience the expansive horizon almost continuously.

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Lesia Topolnyk

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Model 1:500

Site model. The building functions as a dividing wall, but acts as a gate through its elevated position and with passageways, created by excavated historical links.

Facade fragment: the south facade is equipped with automatised pivoting elements. They filter light, simultaneously mirroring surroundings.

The frame of these elements collects energy for the building.

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Lesia Topolnyk

Un-United Nations Headquarters is a neutral arena for disagreement, providing ground for discussions on the morality of the opposed political systems. It locates in an originally Greek city within Sevastopol, founded on the Hippodamus of Miletus city grid. With time the grid quarters became a representation of the solidified in architecture and superimposed political systems of diverse historical periods and nations. The grid itself is remained intact during the whole city’s existence. In order to eliminate the political systems agglomeration, captured underground, the streets structure is excavated till its original level. The new layer is added within the excavated grid, where nothing was built before.

Created by street vertical multiplication, Un-UN portrays a contemporary democratic system with a vertical order, superimposed with the historical horizontal one. It is a distinctive structure, complementing the collection of the existing diverse artifacts.

Headquarters create a link between the harbor area, the Agora and hovers above the sea. The width of the designed complex corresponds to the narrow width of the historical street (4,5 m). Standing within the headquarters, the linear

form allows one to experience the expansive horizon almost continuously. Each facade is responding to its specific orientation and optimized according to the climate conditions. Short East and West facades meet sunrize and sunset while welcoming incoming ships. The long side is orientated towards the entrance of the trade port, creating a connection with trade port (current naval base).

The south facade is orientated towards the land, mirroring archeological site.

Movement in the building is always towards the water, while all the discussions are about the land. The structure of the building, it’s elevators, and it’s stairs are positioned outside of the corridor in order not to disturb “unlimited thoughts” situated between historical quarters.

Un-United Nations Headquarters performs as a dividing wall but acts as a gate through its elevated position over the landscape and with passageways, created by excavated historical links. This gate builds relationships with both Eastern and the Western world.

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Site: un-united architecture. In order to reveal the agglomeration of political systems, captured underground, the Greek city grid is excavated till its original level.

Each facade responds to its specific orientation and is optimised according to the climate conditions.

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Lesia Topolnyk

The corridor is a practical space for real discussions, but also the symbol of a journey rather than an end result.

The building is a receptacle for various informal unpredictable settings.

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History Unearthed An underground tasting room for the Koemarkt in Purmerend as an ode to the city’s past Jordy van der Veen The historic centre of Purmerend was established and formed for the trade in food.

It transformed from a small fishing village between three lakes into a monastic settlement in the 14th century. After the reclamation of the lakes ‘Beemster’, ‘Purmer’ and ‘Wijde Wormer’, the fishing industry was replaced by livestock breeding and agriculture.

The Koemarkt and the Schapenmarkt — the location of this project — are remnants of the market existence. These markets only lost their function in 2008 due to the outbreak of the footand-mouth disease epidemic. Partly due to dyke heightening and land reclamation, the ground level and the buildings around the squares have been changed several times.

The new design of the Koemarkt reveals various layers of this this rich history. The building, for example, is on the foundations of the monastery and the production and trade of food will once again determine the identity of the Koemarkt by providing a place for local and artisanal food production and consumption. By placing the new tasting room underground, the square can remain a square, 174

the old monastery ruins can be included in the design and various cellars of the current catering establishments can be connected. Light is the most important means of orientation for the visitors. A public route leads the visitors through the artisanal workshops, thus giving insight into the production process. The building oers inviting tasting rooms. Four large patios make the connection between the square and the underground market.

The new underground tasting room of Purmerend therefore becomes a spatial experience which is tailor-made for the Koemarkt: it connects to the underground and overground morphology of Purmerend and to the history and culture of the city, in which food occupies a central position once again.

Graduation date 15 February 2018 Graduation committee Machiel Spaan (mentor), Dingeman Deijs, Bart van der Salm

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The square — the overground layer

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Jordy van der Veen

The spaces — the underground layer

The patios — the transitional layer

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Purmerend between the poldered lakes.

The Koemarkt was an important place for the region of Waterland.

The Sint Ursula monastery was situated at the location of the Koemarkt. The ruins were covered under a layer of soil during the raising of the city.

Historical layers of the Koemarkt: from fishing village, to monastic settlement, to market city, to events square.

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Jordy van der Veen

The design for the underground tasting room connects the historical layers of the Koemarkt and the monastery.

Four patios dug out from the square serve as a transitional zone from the square to the underground tasting room and form a visual and physical connection between the square and the spaces. An underground building provides freedom in the spatial design.

As a result of this, various spatial forms arise that result in various constructions.

Large openings make the workshops visible and easily accessible, because they are on the public route. Because the workshops are situated relatively close to the ground level, the roof construction must be able to absorb point loads and therefore consists of a coffered system. This construction transfers in various directions. Together with the large openings towards the patios, large skylights provide the light requirements of the workspaces.

The corridors serve as a buffer zone between various spaces. Because the corridors always have a clear span direction, beams are used here.

The beams that are deeper under the ground have more to support, as a result of which the dimension increases. Light is used in the corridors to guide the visitor, for example by illuminating a staircase or a bend.

Maturing rooms are situated deeper underground, not only because the climate is more stable there, but also because sunlight is not desired here. Light only serves as a landmark. The construction of the maturing rooms differs.

Given that these spaces are deeper underground, a point load is converted through the ground into a uniform load.

This load can be adequately absorbed by means of vaults.

The shape gives one the feeling that a large amount of mass is situated above you and reinforces the underground feeling.

The meeting places for gathering and consumption are spacious. The structure must therefore cover large spans. Daylight enters here theatrically, so that this place feels like a place you would like to stay longer.

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In order to split up the scale of the square, the square is divided into various zones. These zones dier in terms of material and texture.

In order to reinforce the sense of this underground world, a distinction is made between mass and space. The mass contains the functions that are hidden to the visitor.

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Jordy van der Veen

Four large patios dug out from the square serve as a transitional zone from the square to the underground tasting room.

The production process is made clear in the workshops. Together with the large openings towards the patios, large skylights provide the light requirements.

The maturing rooms are situated deeper underground, where the climate is more stable. Light only serves for the purpose of orientation.

The meeting places are large in terms of form and size. The structure can cover large spans and daylight enters here theatrically.

Food has played an important role in all historical layers of the Koemarkt.

The new function brings the consumer and the origin of the food together.

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The Workshop, our Workshop Werkplaats Kindergemeenschap Amsterdam Koen Vos Children need a safe environment in order to do what children are supposed to do: discovering the world with hands and feet; experimenting, falling down and getting up again, being creative, learning through play, working together and growing up. This is essential for children in order to be able to develop into pleasant, independent adults who interact with the world in a solutionoriented, creative, social and self-confident way.

Many schools don’t offer what children need.

One school that does do that is De Werkplaats Kindergemeenschap (Children’s Communty Workshop) in Bilthoven, which was already established in 1926 in accordance with the principles of educational innovator Kees Boeke (1884-1966). The school is still very popular, the principles still relevant. The scale and development cycle of the child, safety, the outline, nature, creativity and self-sufficiency are all basic principles that are manifested in the school.

Such a school does not yet exist in Amsterdam.

This graduation project proposes establishing De Werkplaats Amsterdam on two islands in the Westerpark of Amsterdam. The city is under development there and children from various social classes live around the Westerpark.

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Although the school is close to the city, children are given space in nature, as a result of which an important counterbalance is offered to the hustle and bustle of the city and the overly organised child’s life. Moreover, the children are given the space to develop in the real world instead of the digital one.

An important element of the new school is working together, because you gain the most knowledge in that way, which was also the belief of Kees Boeke. For that reason, professional workshops, where crafts are practised, are part of the school. This is not only of added value to the ‘workers’, which is what the pupils of De Werkplaats are called, but also to all children who want to learn to work with their hands and express their creativity.

At De Werkplaats Amsterdam, the existing landscape structures are used as a means to shape the places on the islands and to determine the layout of the grounds. The school is designed like a campus in the landscape; the architecture rises, as it were, out of the landscape.

Graduation date 20 June 2018 Graduation committee Jo Barnett (mentor), Paddy Tomesen, Marieke Timmermans, Wim Koppen

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Entrance of the school towards the main square with the open playing fields in front.

Main square.

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Koen Vos

A passage through one of the buildings from the main inner square into the nature surrounding the ensemble.

Buildings and landscape are intertwined.

The ceremonial bridge between the kindergarten and the junior section of primary school. The annual ceremony ‘onder de bogen’ (under the arches) is being celebrated on this bridge

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The current layout of the location surrounded by water and green structures.

Both islands have their own entrance.

Addition of green structures, creating new places on the islands.

Addition and changing of water structures, creating a new landscape typology and combining the islands into one.

Use of height difference on the islands to create a border between the different landscapes on the sites and creating places at the same time.

The ensemble of school buildings creates stronger borders between inside and outside spaces. Each building houses an age group.

The location is related to the age of the child.

Towers, connected to the different school buildings within the ensemble help children navigate to their space and house special functions.

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Koen Vos

The slopes in the landscape, the groups of trees and the fields clasp around the buildings, as a result of which a closer relationship arises between building and landscape, which is experienced from outside as well as in the interior. The design of the buildings is characterised by the simplicity of the masses and the repetitive facades that are built from natural materials.

From a distance, the buildings are read as a whole, while up close subtle differences are telling, for example in the accretion on the ground level or at the end of the eaves.

The campus layout resembles a village where the houses and church are situated around the village square. Each function and each learning group (consisting of two school years) has its own building, each situated in a different type of landscape. The landscape ties in with the responsibilities and space that the children need at that time in their lives.

As they get older, the children move over the grounds to the different school buildings and landscapes.

Because the buildings are situated around the squares, they form a transition between an indoor and an outdoor world. The outdoor world is a natural landscape, while the indoor world is a controlled environment. This

division is reinforced by raising the landscape around the buildings. The dyke bodies ensure that the buildings are incorporated in the nature from the outside, while the buildings are completely visible from the inside. The towers that stand like beacons on the islands are the first elements that are visible over the tree tops. They are beacons that are seen from far away. Just like a church does in a village, the towers mark important parts of the campus. The towers help the children to navigate over the grounds. The principal school buildings can be recognised by the towers. Each tower also houses an important and specific function, such as the theatre or the library.

The ensemble is designed in such a way that specific transitional zones are created between different locations, which leads to a subtle border between locations. They are often characteristic moments in the chronological growth of the children through the ensemble.

For example, there is the bridge that symbolises growth, the narrow alleyway between the central square with the studios, and the passage between the substructure to the large field and the tunnel from the central inner courtyard to the large pond.

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Fragment of school buildings for the middle years of the primary school (centre right) and the higher years (bottom centre) together with the arts workshop (bottom left).

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Koen Vos

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Perpendicular On the coastline Dex Weel At the foot of the Pyrenees, between the Spanish fishing villages Llançà and Colera, one can find Perpendicular. It is a linear building structure that stretches from the Mediterranean Sea into the mountains, connecting two landscape extremes with each other.

The varied natural scenery of rugged mountains, forests, green valleys, beach and sea provides a diverse and impressive landscape. In order to ensure the natural landscape remains as unspoilt as possible, the structure rests on high columns. In this way, impressive vistas are created, which intensify the experience of the natural environment.

The structure Perpendicular contains three types of housing units that are tailored to the landscape context. The housing units are connected with the environment through sightlines, each with a different orientation on the surroundings. The public functions of the housing structure are housed in the columns.

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Dex Weel

Residents and visitors can easily reach Perpendicular by train via the existing railway.

There is a stop at the junction with the housing structure where residents can transfer to a capsule that brings them to the green-blue sea, or otherwise to the deep-grey mountains...

Graduation date 3 August 2018 Graduation committee Chris Scheen (mentor), Bart Guldemond, Vibeke Gieskes

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The mountains reflect the splendour of the natural environment. The project area is situated at the foot of the Pyrenees. There is an empty and undeveloped area between the Spanish fishing villages, the ideal location for Perpendicular. The sea is characterised by its horizontality and mutability.

The housing structure ends just under the highest point in the mountains. That is where the Perpendicular landscape ends.

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A staircase leads from the through-passage upwards. Anyone who wants to reach the top of the mountain will have to continue on foot.

Dex Weel

The intersection is symbolised by a circular square situated above it.

This is the intersection of the existing infrastructure with Perpendicular.

The housing structure connects to existing railway line and coastal road.

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Perpendicular begins here. Two concrete bands rise up out of the water surface.

The bands screen o part of the rough sea.

The uppermost part of the accommodation zone looks out onto the endless horizon and sky.

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At the foot of Perpendicular, residents can calmly enter the water for a swim or surf session.

The mountain unit is reached by a staircase that connects the fast through-passage and pedestrian zone. The accommodation zone consists of two sections that are stepped in relation to each other.

Dex Weel

The extremes in the landscape — the sea and the mountains — are often seen separately.

Perpendicular connects these two landscapes by creating a slender linear housing structure perpendicular to the coastline, which stretches from the mountains up until the Mediterranean Sea. In order to spare the unspoilt nature and to be able to experience it more intensely, Perpendicular rests on high columns. The housing structure occasionally plunges into the landscape, as a result of which the contact with the landscape and the natural environment is intensified.

The housing structure contains three types of housing units that are blended in with the landscape context, as a result of which they are optimally connected with the environment. The housing units in the mountains are oriented upwards, so that residents have a view of the sky and the endless horizon. The units in the valley look out onto the rolling landscape and the units on the sea look out onto the depths of the water. These housing units are linked to an internal line connection. This connection contains ‘capsules’ that function as horizontal lifts. They can pause at each dwelling in order to bring the residents to their front door.

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The accommodation zone has a ‘portal’ to the south side, which functions like a viewfinder, which frames the natural environment. One can also step directly into the landscape through this.

The valley unit is reached from the staircase that connects the throughpassage and pedestrian zone. This unit is oriented towards the silhouette of the mountains.

The two slanted open sides consist of glass panels that can tilt, whereby they function as decks.

The upper spaces of the unit are more cut off from the water, but will however experience that indirectly through the reflection of the sea on the pitched roof.

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Dex Weel

The sea unit looks out on two sides to the depths of the sea. The unit is reached from the ‘deck’ and its accommodation zone below has the triangular shape of the housing structure.

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Urbanism — The Largest Art We live in an age that produces urban space like never before, not only in terms of quantity, but also in terms of speed. Cities literally spring up out of the ground and entire districts come into being in months rather than years. One might think this is happening in South East Asia only, but that assumption would be wrong. Also here, in the heart of Europe, city development is undergoing a dynamic change that has not been seen since post-war reconstruction. However, the situation is different today. Whereas we talked — in the past — about 'building out', creating new pieces of city on the outskirts, today we need to focus on 'building in': using space that has previously been used for other functions in a new way. This puts an enormous pressure on these spaces. We run the risk — in a quick-fix frenzy — of eliminating one of the biggest assets cities can have: their beauty.

This year’s graduation projects address this. Their designers reformulate the task of regeneration, not approaching it as a planning or design exercise like any other. No! They define the remaking of the city as a process of enhancing beauty. But beauty in this context is not simply a means to an end. It is the driver that steers the direction and orientates all the other aspects, layers and concepts that are necessary to enable it.

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Markus Appenzeller

Iruma Rodriguez in her graduation project Towards a Happier Havana! rediscovers the beauty of the Almendares river area and uses it to unlock new development potential for the city while protecting a key ecosystem.

Koen Hezemans’ The Eternal City identifies places along Rome’s Aurelian Wall that can engage in a dialogue between the beauty of the ancient and the need for a city to evolve.

In his project Regenerate Zoetermeer Koen Vermeulen shows that the hidden beauty of a nondescript city like Zoetermeer is not only within reach, but can also boost the positive impact the measures he proposes can have on the environment.

Metropole City by Martijn Veenstra takes this approach to a larger scale. In his project, he redefines the structure of the city of Amsterdam not as a metropolitan region but as a metropolitan city. In that logic, places outside of the public eye can start playing a different role and reveal their different kind of beauty.

Bengin Dawod Abdullah takes us to the Syrian city of Aleppo with his project The Soul of the City. In his plan for the post-war rebuilding of the city, he not only seeks to recreate living space, but he aims to re-establish the beauty that characterised the city in the past — beauty not only on a spatial level, but also the beauty in the small interactions of its returning inhabitants in daily life.

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All of them demonstrate in their graduation work that they deserve the title of 'Master of Science in Urbanism'. But they are more than that — by creating beauty, they are all 'Artists in Urbanism', artists in the largest of arts!

Markus Appenzeller Head of Urbanism

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Markus Appenzeller

The Soul of the City Urban design in post-war reconstruction Bengin Dawod Abdullah The destruction of cities as a result of war eects spatial transformation, loss of physical spaces, and loss of human life. After war ends, plans to rebuild a city are often developed very quickly. They usually have a political and economic agenda, and they are mostly developed with the help of ‘outsiders’ such as non-governmental organisations (NGOs) and the United Nations (UN). Because of the need for swift action and the large financial investments involved, the initial act of rebuilding often has a physical focus while ignoring the invisible layers of the city and its future challenges.

The aim of this project is to develop new urban designs for the city of Aleppo that optimise the role of all those involved in the rebuilding, add synergy on all levels to ensure a better future, enable the people to rebuild their livelihood, and which set up development strategies for the future of the city.

Today we are witnessing the revival of planning as an instrument of sustainability, inclusion and good governance, especially in 'hyper-dynamic' environments. Yet, as far as contemporary post-conflict situations are concerned, planning still only plays a marginal 201

role — or no role at all — in the reconstruction of post-conflict cities. The lack of planning has had considerable implications for the revival of postwar economies, their sustainable development, and their reconciliation and reunification.

When conflicts (suddenly) end, the situation is often chaotic and it changes rapidly.

How can urban designers act effectively in these situations? How can they guide the reconstruction of war-affected cities in a manner that supports mutual reconciliation? How can they support sustainable recovery of the socioeconomic context instead of creating systems that cause distrust and division, which lead to economic stagnation and environmental degradation?

Is it possible to unify divided cities, like Mostar and Beirut, through planning efforts?

Is there even a role for planning and planners in the immediate aftermath of war? What does it mean to rebuild a city in the 21st century if global temperatures are rising, new urban technologies are implemented in cities and the world population is constantly increasing?

Graduation date 17 July 2018 Graduation committee Hans van der Made (mentor), Hanneke Kijne, Jaap van den Bout

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Bengin Dawod Abdullah

Among the ruins of Aleppo, Syrian children have fun playing in a pool created with the rain that filled a crater formed by the explosion of a bomb. Among the ruins of a shattered city. Photo: Reuters.

In 2014 a report by UNITAR found, using satellite images, that 122 out of the 210 examined key structures had been completely destroyed in the old city of Aleppo. Photo: Mstyslav Chernov/AP.

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Infrastructure guides the growth of the city. New infrastructure, a metro and a light rail is added.

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Bengin Dawod Abdullah

The master plan is a proactive tool to map the development of Aleppo rather than a reactive instrument that is continuously trying to keep up with the rapid rebuilding processes.

The landscape is brought into the city as a strong network of green parks, leaving space for the western wind to cool the city.

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City composition and characteristics: 47% of the city was composed of modern housing; 45% of the population lived in informal or illegal settlements, which constituted 32% of the city’s built-up area.

City damage analysis: 45 neighbourhoods have been heavily damaged; 78% of the damaged areas were residential, 67% were informal housing areas; 71% of the industrial areas have been damaged.

Urban typologies of Aleppo

Topography and green structure

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Bengin Dawod Abdullah

In 2011, Aleppo had 720,000 housing units. During the war almost half of it was destroyed, many were multi-storey houses. Most of the damage (67%) is concentrated in the informal living settlements.

In total, 99.7% of the houses had electricity, but daily supply hours have since dropped significantly. The old electricity generating system will face challenges in the future. In addition, the city’s water supply poses a challenge to the future development of the city and the region as a whole: a large part of it is required for agriculture, one of the city’s main incomes.

Aleppo’s future however also holds a lot of opportunities for the use of renewable energy.

The existing disparity between the eastern and western half of the city requires the plan for the city’s reconstruction to avoid a divided city. The plans should also address the current lack of public spaces, the lack of green spaces and Aleppo’s disconnection from its own landscape, and how to get the cool winds from the west to reach the entire city.

The challenge in rebuilding the city includes dealing with the changes in the demographics and a loss of identity. We should be very wary of rebuilding using only modern typologies, because they run the risk of creating a

monotonous city that ignores the traditional architecture.

This will only intensify the lack of identity.

Rebuilding a city in the 21st century requires more than just rebuilding what used to be there. It requires adding synergy by taking the future challenges into account, drawing up flexible urban plans, and taking the changes in climate into account. Global warming is an indisputable fact and so is the lack of water in the Middle East. The city of Aleppo is not new to adapting to its climate. In its urban tissue it is using wind and shadow wisely. However, this was never developed as a tool for planning its future. An example of how plans of reconstruction could include climate adaptability is to introduce ‘microclimate streets’, which is inspired by the traditional streets of the old city. The city plans could also open the streets towards the cool breeze and the green landscape to the west of the city. Furthermore, plans could take advantage of the city’s natural geography to collect rain water.

My strategy for Aleppo is to sketch an outline for a robust urban structure that connects the city’s past, present, and future.

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Neighbourhood level: the proposed design principles suggest employing a ‘bottom-up’ approach, which gives people back the ownership of their own neighbourhoods.

The destruction footprint will be used as a geographical guide to map the transformation of the neighbourhoods, and to reserve spaces for green structures and public squares.

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Bengin Dawod Abdullah

The design for the block levels is inspired by Aleppo’s traditional urban structure. It provides a clear boundary and at the same time Plot transformation principles allows a lot design of flexibility in the future.

Plot study shows the transformation from an existing structure to a socially, economically and climate adaptable, allows family growth.

15-25m

N

20% of the plot: Green garden courtyard 8-10m

4 possible plot forms

1- Section for the existing structure of the plots

Plots transformation on block level

2- Section transformation by taking out 20% for open space

3- Adding extra floor

extra floor is 20% less built and roof gardens, Inside outside on blood level, public and private,

4- Adding solar panels on the roofs, water tank in the garden to collect rainwater

5- taking orientation in

account, sun and wind, which helps creating microclimate.

2 degrees cooler Green courtyards, semi-public squares

Plot transformation — The design for the blocks creates a better social, economic and climate adaptable future for its citizens.

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The Eternal City: Rome Projecting Rome’s adaptive green past on its future Koen Hezemans According to myth, Rome was created more than 2,500 years ago on two hills. Romulus climbed the Palantine Hill and Remus took up position on a nearby hill, the Aventine Hill. From here, the city grew over seven hills into an unprecedented metropolis.

Two millennia later, its inhabitants have barely lost their mythical faith in the endless growth of Rome. However, this growth is completely restricted to plans for new districts outside the existing city. In this way, the agrarian landscape of Rome is slowly transforming into a suburban area with large housing complexes in disastrously low densities. Moreover, the flats and shopping centres are only accessible by car. Low density is the enemy of public space. This is putting even greater pressure on the existing city. The streets and parks are already barely being maintained, if at all, and the influx of cars ensure that there are traďŹƒc jams on a daily basis. The development of the city has literally come to a standstill.

Almost all cities in the world are growing, but that does not mean at all that the quality of life is also always improving. The quality of life in Rome is largely deteriorating. At the same time, it is also a city with a 2,500-year history 210

of innovation and change. These changes make Rome so social. Religious leaders, emperors and even dictators have bent the city, layer upon layer, to their will. For example, emperor Nero was finally able to build his desired avenues after the Great Fire of Rome in 64 AD and the many popes created a green villa landscape along the consular roads, the aqueducts, the Aurelian Wall and the Tiber. In addition to improvement and innovation, each intervention was about the grandeur and recreating the Roman glory.

Rome itself is faced with the major challenge of inventing and realizing a new future, not only through expanding, but also by intensifying the programme in the existing city.

This urban design demonstrates that using the lessons from the past and the proposal for smart interventions in the existing city will improve the living environment of the city centre in Rome, and new layers and stories will be added to the eternal city.

Graduation date 16 July 2018 Graduation committee Henk Hartzema (mentor), Francesco Garofalo, Hiroki Matsuura, Tom Rankin

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New urban structures connect city parks on a large scale, create better green routes, and link up with the Tiber and public transport.

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Koen Hezemans

Around the historic centre of Rome, there are unique locations that, by means of transformation, can absorb a large part of the urban growth.

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The new development is positioned precisely on the existing structure. The new courtyards in combination with the existing buildings create new connections and interaction between public and private.

The grid connects the surrounding districts, the green main structure connects the Tiber with the Colosseum and the monumental diagonal leads to the train station.

The master plan, which is characterised by greenery and connection, has a robust green structure, a new route along the Tiber, a circular park along the Aurelian Wall and small pocket parks activate the hidden water structures.

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The Eternal City Rome demonstrates, on a plot of approx. 1 km2 on the southern side of the Aurelian Wall, how Rome can build further on the existing city in the future.

In Roman times, this location was the trade centre of Rome, which is still recognisable from the large warehouses and the contours of the old ‘Testaccio’ garbage heap. Later came the Mattatoio slaughterhouse, which now houses a museum and universities. In spite of all the activity, 66% is open area that is rundown or poorly maintained. A quarter of the area is even solely designated for cars. If we compare that with the Piazza Navona, only 35% of the space is open.

Therefore, a lot more is possible in the city, without having to sacrifice quality and greenery. On the contrary, the historic city would never have developed into a metropolis if the city had not managed the architectural and landscape space in an inventive way.

In order to be able to learn from the past and use the insights in the design, parks, gardens, villas and palaces were frequently examined. These ideas turned out to be still valuable and created the basis for the design.

The design adds a lot of homes and greenery to the existing structure. Smart routes for slow traffic through the area have also been created.

The new structure connects two city parks on a large scale, link up with the blue vein of the city — the Tiber — and create connections, which do not yet exist, for the train and metro stations in the surrounding areas.

Because the relationship between public space and private space is characteristic of Rome on a smaller scale, this is translated into the compact urban design in a contemporary manner. In this design, the city connects with its surroundings once again and the city is owned by the inhabitants once again and no longer by the car.

The knowledge from the past returns in sometimes literally copied gardens, which are adapted to this time in order to create climatologically pleasant courtyard hardens and to accentuate higher and historic buildings on important routes. The plan demonstrates that densification of the existing city can go hand in hand with improvements of the living environment and preserving the city.

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The design responds to the historical context of the area. Diagonale di Cestio allows new inhabitants to live at the foot of a historical pyramid.

The station area is currently domination by cars and a sea of asphalt. By adding new routes, the city gate and the pyramid are restored to their former glory.

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Koen Hezemans

The banks of the Tiber are inaccessible and inhospitable. The new development and the activation of old gates draw the Tiber into the area.

The research into 25 dierent gardens in the history of Rome led to clear design principles.

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Towards a happier Havana!

The Almendares area case Iruma Rodríguez Hernández A city people like to live in; a city which people want to work for; a city which citizens want to contribute to; a city of which people will proudly say: "I am from this city” or “I live in this city".

That is a happy city. If the residents of a city are happy, the city is happy. At the same time, that city should provide spaces and systems to make its people happy. That should be the highest purpose of every city: to help its residents achieve happiness.

Havana faces a double reality. On the one hand, it is a world-renowned city due to its beauty, and its friendly and happy people: HAVANA IS HAPPY. On the other hand, in daily life, people face unhappy moments when they have to commute for at least one hour to go to work; when they have to wonder where to look for basic articles; when the public spaces are full of garbage instead of trees; and when their houses are bad or overcrowded. HAVANA IS UNHAPPY. The area around the Almendares, the main and most important river in Havana, reflects many issues affecting the city as a whole. The river is polluted, but it provides one fifth of the city with water, the neighbourhoods on both sides of the river are disconnected from it, 218

and waste is disposed in the area in-between the river and slum settlements. have sprouted up there, at the same time there is also a lack of housing. Recreation within the river does take place, but only in parts of it. The river is mostly neglected. Nevertheless, with its specific conditions, it has the potential to become a large-scale wedge that solves many problems of the city, with respect to recreation, transport and housing. Almendares can make people and Havana happier.

In order to be able to fulfil this promise within the sociopolitical and economic context of Cuba, I propose a spatial framework and strategic design principles that can be realized, combining top-down and bottom-up eorts. Finally, I make suggestions for catalyst projects, which can help kick-start developments right away.

Graduation date 28 August 2018 Graduation committee RiĂŤtte Bosch (mentor), Gert Urhahn, Wolbert van Dijk

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Promise: The Great Havana Forest, a dream for Havana, as Almendares lies at the geographical centre of Havana.

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Iruma RodrĂ­guez HernĂĄndez

The Great Havana Forest is a spatial framework to strengthen the city. Nature and cultural heritage connect people and inspire Havana to grow in a healthy way.

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Strategic design principles

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To make Havana happier, the landscape of the Almendares needs to have a stronger presence within the city. The Forest of Havana will have to become an urban forest and the area of Almendares should introduce the urban boulevard system. In this way, Havana can be put on the map again. This landscape, in interaction with the urban environment, can serve as a motor that can help solve the economic, productive and recreational problems of the city.

The project promises to go from the current situation with a handful of parks, which are badly connected and poorly integrated with the surroundings, to one large landscape entity: the Great Havana Forest. With this promise, Almendares will be clean, well-defined and in harmony with new and existing housing areas and cultural heritage.

To fulfil this promise, the design strategy consists of a set of design principles; a set of suggested interventions in each realm on dierent scales from S to XL. This leads to the vision or dream for a future Havana. On XL, solutions are to be applied on city scale, for example, to renew the whole city sewage system. On the smaller scales, there are infills, such as humanising street profiles.

Some of these proposals will have to be organised beforehand, so it leaves space for the other actors to realize their own initiatives.

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The strategy for Havana focuses on six design realms.

Strategy: from hopeless top-down situation to smart cooperation

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Iruma RodrĂ­guez HernĂĄndez

A young guy takes his girlfriend on a boat, from the Almendares Park pier to the jetty at Chullima. The river is clean and wildlife is returning. People bathe and spend free time on the riverbanks. From the balconies of the houses on both sides, spectators see their happiness

We are inside the factory of Green Island Project. In the center, Osmel explains his ideas about the next edition of the River Festival. This is an educative place, that holds events that support the environment. Its is totally accessible by bike and tram

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Metropolitan City Accessible to everyone Martijn Veenstra If we regard the urban fabric of the Amsterdam Metropolitan Area (AMA) as a city, and also regard the transport system of the AMA as a system, we then see a link arise between the accessibility and aordability of the new housing target. Research shows that social segregation is related to accessibility: people with low incomes more often live outside the city and because they have few travel options or very long travel times with public transport, they also trail behind in their daily urban system.

Although the City of Amsterdam is focusing on building more aordable homes in the city, the problem outlined above continues to be relevant. It is more interesting to examine whether the homes yet to be built can contribute to a solution at system level, as a result of which a dierent network arises. A leap needs to be made for this from a monocentric capital to a polycentric network city. Through such a systemic shift, existing homes that are currently very poorly accessible by public transport will suddenly become accessible and therefore more attractive. As a result of that, residents will be given more freedom of choice everywhere in terms of where they want to live.

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Zaandam, the city that served as a case study, already demonstrates that the existing homes in combination with new homes not only add quality to the city, but also create mass in order to connect new and existing lines with each other in the regional network. In this way, a metro-plus network is created. By using more sprinter trains (trains stopping at all stations along the route), the national train network will be connected with the district and the city.

Within the current urban structure, there are suďŹƒcient opportunities to create a beautiful polycentric metropolitan city. The various centres function separately from each other and have their own identity and development speed. At the same time, they complement each other through the function in the network and an equal place in the transport system, as a result of which the city is accessible to everyone. Moreover, the current proximity of the landscape will remain an important quality in the metropolitan city.

Graduation date 29 August 2018 Graduation committee John Westrik (mentor), Paul Gerretsen, Dirk Verhagen

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By connecting metro and sprinter train tangentially, a strong metropolitan network will be created. It will function as a housing market and an accessibility system: Amsterdam Metropolitan City

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Martijn Veenstra

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Mixed-use index (MXI) value: Zaandam has a strong mix of functions in the area between the river Zaan and the NS (Dutch Railways) station.

Value for the purposes of the Valuation of Immovable Property Act (WOZ value): the housing prices are higher in the areas with a higher MXI value.

Zaandam

Potential link locations in order to create residential environments, accessible to public transport and car.

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PTAL value of the public transport: the built environment makes limited use of the value that is related to the proximity of public transport. There is great development potential here for both the new and existing city.

Internationaal topmilieu Autoluwe binnenstad Sterk verdichten OV knooppunten Mengen auto met OV — transitie Regionaal OV netwerk verbeteren

By adding homes within the urban area, the pressure on the housing market will decrease. By situating these homes between the through roads and the city centre environment, districts can also be made low-traďŹƒc areas. The accessibility system and the movement in the housing market can therefore strongly improve.

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The expansion of the city centre of Zaandam on the eastern side of the river Zaan produces a city centre orientated on two sides with opportunities for densification and excellent accessibility.

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Zaancorridor 15 jaar 179.574 inwoners

Zaancorridor 15 jaar 309.343 inwoners 3000

7.100

Transformatie O.R.

250

Verdichten & typology aanpassen

5.650

2.465

900

8.495

Strategisch mengen werken & wonen 6.240

8.500

1.600

6.900

10.400 9.600

Kleine ring sluiten 10 jaar

900

1.900 9.670

Amsterdam Noord 20 jaar 3.200

A new connection on the Noordelijk IJ-oevers (Northern Banks of the IJ) with the Achtersluispolder and Poelenburg to be developed and densified leads to an improvement of the system by unburdening the city centre of Amsterdam.

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Regenerate Zoetermeer!

A strategic vision for a resilient Zoetermeer Koen Vermeulen Zoetermeer is a beautiful city that is bursting with qualities. For example, you can happily grow up there as a child due to the many socalled bloemkoolwijken (residential areas with a ‘cauliflower-like’ structure characterised by a maze-like grouping of cul-de-sacs and small courtyards) with restricted car access, the Groene Hart (Green Heart) nature area is just around the corner and you can reach the entire Randstad conurbation within 45 minutes.

However, these so-called New Towns are facing a number of social and spatial problems, including the ageing population, housing obsolescence and large sections of unsafe public space. If Zoetermeer wants to deal with these problems, the city will have to adapt. This is a new phenomenon for Zoetermeer; the city is regarded as being ‘completed’ and the effect of this is that every change to the status quo results in a profusion of suburban resistance.

Consequently, the current policy opts for the path of least resistance, as a result of which quality no longer prevails.

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A resilient city fulfils three aspects: the city is adaptable to meeting changing needs through all life phases for all target groups, economically vital and has a robust structure. By making intelligent use of the qualities and thus tackling the problems, a city can be made of Zoetermeer that is able to change within a robust structure and anticipate to changing needs.

In order to achieve this, use needs to be made of the three major qualities of Zoetermeer: 1. Zoetermeer city streets: exploit the amazing accessibility of the city!

2. Groene Hart Park (Green Heart Park): by strengthening the connection with the landscape, the balance between city and landscape can be preserved.

3.Real suburban living: focus on the wonderful suburban living in the city!

A resilient Zoetermeer is a plea for a tailored approach to the urban design and a call to urbanists and architects to discover, clarify and, above all, exploit the existing qualities of our New Towns.

Graduation date 31 May 2018 Graduation committee Huub Juurlink (mentor), Franz Ziegler, Ivan Nio

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Real suburban living. A new landscape ĂŠlan for the bloemkoolwijken (cauliflower neighbourhoods) in order to make the residential districts truly distinctive.

Groene Hart Park (Green Heart Park). A large park for the whole city that consists of seven completely dierent areas.

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Koen Vermeulen

Zoetermeer city streets. A new urban environment for the city in order to make the city recognisable again and to allow city life to play out on the street.

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Three pillars in order to become resilient: 1. Zoetermeer city streets 2. Groene Hart Park (Green Heart Park) 3. Real suburban living

1970 Zoetermeer is new. In the early stages of Zoetermeer everything is new.

There are new fresh and open-minded ideas and a curious attitude.

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2010 Zoetermeer is ‘completed’. In recent years, there are still growing pains and an insecure attitude about what the city actually stands for. Nevertheless, the city is seen as being ‘completed’.

Koen Vermeulen

The qualities. The urban periphery consists of seven existing, unique areas, each with their own character. Only the parks are not connected with each other.

Recognisable long lines. Improve orientation in the city; Residential environments for young people and senior citizens; A direct connection between the city and the landscape.

One park for the whole city. Urban programme, such as leisure, restaurants and cafĂŠs, and recreation, is connected with the urban fabric through intricate connections.

That yields a recreational landscape that functions as a whole.

New ĂŠlan for the bloemkoolwijk (cauliflower neighbourhood). A landscape quality incentive will be introduced in the residential environment and there are opportunities for changing singlefamily houses. This will lead to more diversity in the residential districts.

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A boulevard that lives! More mutual connections between the neighbourhoods.

The RandstadRail will be integrated in the street. There are clearly defined spaces in the city and lots of qualitative greenery.

Interventions for the public space. Trees, trees and trees; share the space through shared space; lay out with semi-paved areas.

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Adding Value In their graduation projects, all the landscape architects have combined their own personal fascination, experience and background with the current wider issues in the field of landscape architecture. By looking at their designs, we indeed get a personally flavoured — but also clear — insight into the broader range of important current themes that need to be addressed within our discipline. The graduation projects show us that landscape architects are urgently needed in our contemporary world.

With appropriate modesty, major topical issues like climate change, food production, rising sea levels and social environmental problems are used to show not only new spatial proposals and solutions, but also offer us new ways of looking at these issues. All the graduation projects combine solutions for different current themes on different levels and scales, which at the same time improve our daily personal experiences of the landscape surrounding us.

In quite a few of the graduation projects, there is a quest for new spaces to be experienced in a more individual and peaceful way, not only as a reaction to the frenzied pace of our current everyday society, but also to raise awareness of the need for the tranquillity and beauty of landscape, which should surround us and provide us with the opportunity to contemplate and withdraw. Places like these 242

Hanneke Kijne

have been designed within the landscape of big cities like in the Amsterdam-based projects Silence in the Rush by Thomas Wolfs and Space for Nothing by Willemijn van Manen, but also in Kraamkamers by Annelies Bloemendaal in Paris. A project that also seeks to design places and spaces of contemplation is Landscape as House by Anna Fink, combining her personal history with the beauty of the rural landscape in Austria.

Landscape architects are optimistic improvers. Through their projects, these young designers are addressing and translating largescale problems into understandable small-scale solutions that serve a bigger goal and have grand effects. All plans take the existing quality and history of the landscape carefully into account. Both Mark Spaan with his plan for the redevelopment in Tirana and Mark van Vilsteren’s design Reconnecting the Landscape in the refugee camp of Al’Zaatari in Jordan, utilise the quality of the existing landscape to create a better life for the inhabitants of the places, both starting with small-scale interventions that aim to effect large-scale solutions. With her project Liquid Land, Anne Nieuwenhuijs also finds a small-scale solution, the smallest clay particle in the landscape of the waterway of the Western Scheldt to detoxify the whole landscape of the estuary. In her project Evolving Lower Guadiana, which plays out on the border between Spain and Portugal, Lourdes Barrios Ayala focuses on LANDSCAPE ARCHITECTURE

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the importance of adding small jetties to make large new connections possible.

Paul Plambeck transforms the Frisian peat meadows into an adaptive and innovative natural landscape, raising the waterlevel to prevent the peat from oxidising. His design stresses the beauty of landscape, while keeping it economically attractive. David Habets, on the other hand, uses the existing industrial structures in Geleen to create public awareness for the chemistry of the future.

But besides designing beautiful landscapes and spaces, all these projects are influenced by the other design disciplines and external expertise, something that is not always evident in landscape architecture. It is the combination of all designed layers and solutions, together with the way that each one of the graduation projects addresses larger current issues, which leave me in no doubt that these Landscape Architects will add value to our discipline of landscape architecture and to the world on every possible scale.

Hanneke Kijne Head of Landscape Architecture

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Hanneke Kijne

Evolving Lower Guadiana A river that unites us Lourdes Barrios Ayala Evolving Lower Guadiana consists of a regional strategy for the Bajo Guadiana River Valley, on the southern border between Portugal and Spain. Analysing the area, it is clear that the current use of the land is not sustainable in the near future, both in terms of water quantity and quality, and in the availability of human capital that inhabits and keeps this territory alive. Irrigated agriculture, macro-urbanisation and tourism require large quantities of water, a resource that is increasingly compromised.

These activities put the identity of the area and the preservation of valuable habitats and species at risk. It is necessary to devise a model that takes the values and risks that the region is currently facing into account, and uses them as a guide to ensuring a sustainable future.

The starting point is that there is an imbalance. The hydrological system, the soil and the ecological structure need reinforcement.

Diversification of fresh water sources and reforestation with native species are proposed.

The generating principle is how to channel, reserve and reuse available water.

In matters of production, irrigation processes must be optimised and crops must be progressively replaced by those that tolerate 245

dry and saline soils. Permaculture is also part of the strategy. Making this landscape productive, it becomes profitable for its population, but also generates the proper funding for nature protection.

The first two steps of the strategy are evidenced in the landscape in dierent elements of ecological restoration or experimental productivity spaces that begin a dialogue with traditional systems and heritage traces.

The third step of the design strategy is to restore the role of the Guadiana River as an axis of communication, complemented by public transport and a coherent cycle path network, as well as spaces for the enjoyment of the water.

Combining conservation, the community and sustainable tourism is important. Tourists in this model not only consume, but also contribute to a profitable programme that has an active and positive role in the preservation of the ecosystem.

Graduation date 18 July 2018 Graduation committee Hanneke Kijne (mentor), Harm Veenenbos, Lada HrĹĄak

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The Guadiana River as a natural and administrative border. The design strategy seeks environmental, economic and social benefits. Regenerating landscape ecology, promoting sustainable production, providing green accessibility.

Productive natural park

Reinforced corridor for all species

Gateway to the landscape

A healthy landscape is financially balanced, protected and accessible through ecotourism.

The design strategy explores three pilot areas as examples of the site-specific application of a holistic regional management.

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The design incorporates existing heritage, such as reactivating an old tide mill, so it provides a needed closed loop in-between existing routes.

The park combines a land drainage strategy with the natural intertidal system. Constructed wetlands collect rainwater and clean it before it overflows to the river.

The design reacts to daily tidal dierence and uses it as an element to provide variation in the experience of the public space.

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A reinforced habitat forest serves as an east-west corridor for the Iberian Lynx and improves the habitat and connectivity for the Saramugo fish.

The accessible and coherent border development reacts to climate conditions and shows the essence of the river as a natural and cultural element of this context.

Along the water lies a vibrant park. A double path system connects productive and recreational spaces. There is two metres of dierence in height, which caters for possible tide variations.

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A new public space accommodates constructed wetlands and green areas that manage waste water and enhance biodiversity.

A very minimal physical intervention introduces itself as a line that connects dierent ecosystems for all kind of species.

Keyline design principles are applied to improve soil infiltration and water retention in the valley and to regenerate native vegetation and the soil system.

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This park uses remaining train trails to connect the harbour to the train station, and it provides a private and shaded camping area.

With ecotourism, visitors get a natural, healthy experience; local farmers and new residents get the opportunity to supplement their income.

The spaces along the border support diverse programme activities like a demonstration of traditional activities, camping and biking services, in addition to leisure and contemplation.

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The traditional Calzada Portuguesa (traditional Portuguese mosaic pavement) and old train rails are combined with innovative details in wood, referring to the pine coastal forest. Different paths are proposed: a sunken path, which is almost invisible, retains water, a wooden path in cantilever is situated above the highest tide level and a path reconnecting the village and the river.

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Different paths are proposed: a “sunken” path, almost invisible that retains water. A wooden path in cantilever, above highest tide level. Reconnecting village–river border.

Lourdes Barrios Ayala

A valuable chain of natural areas along the coast is currently threatened by unsustainable coastal development.

Unique traditions and heritage have the potential of being the main economic resources for the region.

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Le Front Pépinière Breeding grounds in the forts around Paris Annelies Bloemendaal Le Front Pépinière is about the forts around Paris. A fascination for old maps is the basis for the plan. Old photos show the beautiful, complex an mysterious spaces of the forts: a fort is landscape and building at the same time. Nowadays, the forts are abandoned and overgrown with vegetation, and it is forbidden to enter these spaces. The forts have been neglected over the years. The ambition of this graduation plan is to make public spaces from these forbidden spaces by searching for a new valuable function for the forts. The new function can give meaning to the ring of forts as a whole in the Paris region.

This second ring of forts around the French capital is part of the national defence system: the Système Séré de Rivières. The 22 forts in the ring are located 30 kilometres outside the city centre. The city has a long history of forts, defence lines and city walls. During the First World War, the ring was in use, but lost its function thereafter. The earth walls of the forts have, however, proven ideally suited to leisure activities or a Sunday picnic.

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The strategy of this project is to connect the historic ring of forts and the new urban extension plans that are taking place under the title ‘Le Grand Paris 2013-2030’. Le Grand Paris consists of new transport zones, urban renewal and economic development, but barely any thought has been given to green structures and parks. Because the new metro ring is situated close to the historic ring of forts, the forts will be accessible to all residents of the Paris conurbation. In the plan, the ring of forts is transformed from a defence system to a protection system, which will be used as an ecological ring that provide reinforcement between forest and city park. The forts will be connected with each other and with the metro stations by means of routes. In this way, it will become a green and accessible recreational network in the region.

Graduation date 18 July 2018 Graduation committee Marieke Timmermans (mentor), Frans Boots, Pierre-Alexandre Marchevet

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In Camp Est, the route will run from the future metro station through a new park past the forts and small-scale agriculture.

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Annelies Bloemendaal

In Camp Nord, forts are hidden in deciduous forests. From the future metro station, the route will begin in existing parkland and run via new routes past the forts.

In Camp Sud-Ouest, the route will run from the new campus along the agricultural fields with newly planted bosquets (shrubs) and a new lake.

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Le Front Pépinière will give the defence ring around Paris a new value and reinforce the green structure around the Paris conurbation.

Endangered animal species can be bred in the forts. The forts are located in different types of landscape, which attract various species.

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Annelies Bloemendaal

The Natura 2000 policy has established important ecological connections in the île-de-France region.

By connecting the routes through the ring of forts with the city parks, forests and Natura 2000 area, a structure is created of significance to animal and plant species in the region. Ecological connections can be strengthened and supplemented via the forts.

Because the spaces in the fort have already been abandoned for decades, the forts have received an ecological value.

Although the forts are wedged between infrastructure and buildings, each fort borders a different landscape. That is what a different urban habitat, linking up with its surroundings, has been designed for each fort.

The habitat of animals is becoming increasingly smaller and more fragmented in the urban region. Countless insects, bats, bird and amphibians are on the red list of endangered animal species. The forts and the areas around the forts are given two functions: that of the front and that of a breeding ground.

The front is made up of zones in which pesticides are forbidden in order to protect small animals. And tree nurseries and forests will be planted, as a result of which small animals can navigate through connected migration routes or find a shelter.

In addition, the forts will become breeding grounds where endangered animals can be bred. In this way, the Front Pépinière will become a network of breeding grounds.

The various spaces in the forts will be converted into nesting places and vegetation will be planted at the forts. In this way, habitats can arise that attract specific species. By using the strategic locations of the forts, the biodiversity in the region will be strengthened.

The breeding grounds can be visited like a public park and will therefore become a place for experiencing nature and education in the city.

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The Séré de Rivières ring of forts from 1874 is located 30 km outside the city and is divided into three camps. The regional forests are part of the system.

The front therefore becomes an ecological network. New green routes link up with the existing green spaces in and around the city.

The ring of forts can play a connecting role between the city parks and the regional nature conservation area, which will tie in with the policy of Natura 2000.

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An extremely enlarged butterfly wing can be seen at the Caponnière, an exhibition about the protection mechanisms of animals.

The production space for honey is located on the Rue de Rempart.

By removing trees, light and space is created for more diverse plants and shrubs, such as flower gardens where bred butterflies can search for their host plant.

The fort is transformed into a breeding ground and park. A mix of flowers that is attractive to bees and butterflies will be spread throughout the parks in the district.

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Landscape as House In search of a new form of topographic living in the Alps Anna Maria Fink ‘Landscape as House’ (Landschap als Huis) is about animating the landscape of my family in Austria by means of a new form of topographic living: a fragmented house integrated into the forests, meadows and the village. As a result of the movement through the landscape, the size of a farmer’s land, this house creates a new form of living with rooms that inhabit the topography. Routines and rituals are rooted in the changing weather. Walking becomes a domestic activity.

The aim of my project is to renew my own connection with the landscape of my family and create a personal space that leads to a new form of topographic living in the Bregenzerwald (Bregenz Forest) region. Topographic living means a life of constant interaction: an interplay between myself and my environment, between what is considered to be inside and outside, between building and landscape, and between that which is mine and that of others. This way of living leads to a new formation and gradual transformation of the cultural landscape of the Bregenzerwald. ‘Topographic items of furniture’ create new relationships between domestic activities and the landscape that they inhabit, 262

as a result of which a new meaning is given to seemingly ordinary landscape elements.

The fragmented character of space is essential to Landscape as House, which leads to a daily rhythm of movement from room to room. This movement is created through the integration of a personal routine into the landscape and leads to more awareness of surroundings, time and space; a ritualisation of living. Seasons are a domestic experience; maintenance activities become ritual. This house is continuously by walking through it; new relationships are formed between the landscape, the rooms and myself.

This project is my personal exploration of what it means to live in the landscape; to experience it, learn from it, animate it and take care of it. Every day.

Graduation date 13 December 2017 Graduation committee Marieke Timmermans (mentor), Anouk Vogel, Bruno Vermeersch

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Landscape as House is a fragmented house on the scale of a landscape.

It leads to a daily rhythm of movement from room to room.

The landscape of my family is a small farmland landscape with meadows, plots of forest, hedgerows and springs.

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By moving the domestic functions outside, the weather and the seasons becoming a leading factor in the daily spatial experience of the house.

Anna Maria Fink

Six rooms inhabit the topography of the landscape of my family, so that a new relationship is created between myself and the mountain landscape.

The new rooms are nestled in existing buildings and landscape elements, and connect life to the transformation of the landscape.

The bedroom is located on the first floor of the old barn. A new forest edge of deciduous trees enriches the coniferous forest and the experience of waking up and going to bed.

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The route from the bedroom to the tea house runs across a meadow. Paths are ‘lines made by walking’ and are formed each day anew, depending on the weather.

A slim wooden staircase leads through the trees to washing spot on the brook. The forest edge becomes a space of transition — between waking and sleeping, day and night.

The path along the forest edge is formed by stepping stones on the steep slope. The new deciduous trees and light vegetation change the atmosphere of the path on a daily basis.

By connecting my domestic rituals to landscape elements, a new type of cultural landscape arises in the Bregenzerwald.

In the winter, I sleep in a warm wooden capsule.

The forest edge becomes the curtain that filters the morning sun here.

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Anna Maria Fink

At the beginning of the previous century, my great-grandfather migrated to the valley of the Bregenzerwald in the northern Alps — the heart of Europe.

He inherited a small farmyard, large enough to provide a family with food and passed it on to my grandfather. Like most people in the era following the Second World War, the life of my grandparents changed.

They went from being peasants who lived from the land to being participants in a society where wage labour in an urbanised environment was the norm. With this major change in lifestyle, the deeper connection to landscape that people had through constant interaction with their environment, is now limited to having a house with a view and a garden. The direct interaction with the landscape, with which the cultural landscape was actively created by human hands is currently left to less than two per cent of the population. That applies to the whole of Europe.

Although he was a policeman, my grandfather loved his inherited land. He animated an entirely agrarian landscape in his own way, by preserving and tending to this heritage. Through cutting, planting, mowing, building, repairing, he continued the connection to the landscape according to his own idea of inhabiting and living. His

daughters would later inherit a house, a piece of forest and a piece of land.

In the Bregenzerwald, one can still find many traces of this topographic way of living, made by one of the last semi-nomadic farmers of the Alps, as well as through small domestic rituals still present within the lifestyle of the periurban inhabitant. Just like my grandfather, many people still own pieces of landscape once taken care of by their farmer ancestors. This concerns small plots of forests and meadows, rights to water and passage, old farmhouses and mountain huts. Through this heritage and an appreciation of the values anchored herein, small routines and rituals connected to the landscape are embodied up until today.

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Landscape as House is inspired by the topographical life of the semi-nomadic farmer of the Bregenzerwald and by the history of my grandfather in the landscape.

The dairy farming of the region is an example of three-level terrace farming, where several topographic altitude levels are used in order to tend to the animals.

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Anna Maria Fink

Through this life at dierent altitude levels, a wealth of degrees of comfort, property and (landscape) architecture arise.

The transhumant way of living is a semi-nomadic form of living that follows the rhythm of the seasons.

The farmer has a home at dierent locations.

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Brave New Substrate Public knowledge park De Maurits David Habets Brave New Substrate is a public knowledge park at the functioning industrial area ‘De Maurits’ in Geleen. Over the course of history, the coal mine has transformed into a petrochemical complex that is now on the eve of the ‘biotech revolution’. Since 2008, building has taken place on the ‘Brightlands’ campus around the central laboratory (1920). Students from the universities of Aachen, Maastricht and Leuven take classes in the middle of the industrial landscape. The spatial interests of the campus are at odds with the spatial consequence of the petrochemical industry. Explosion circles and group risks delineate the area; it is increasingly becoming an introverted and closed site. This is diametrically opposed to the desire for ‘open innovation’ that is underlined by the multi-million investments from Europe.

Brave New Substrate gives form to a public knowledge park in which campus and industry can develop parallel to each other and can reinforce one another. A new public route will be built at a height of 10 metres over the existing pipe support structures, where pipes run from factory to factory. The path descends under the colonnade of concrete and steel pipes towards the campus. With new Landwehren and Gruben 270

(earth banks from the area), the petrochemical industry will be shielded from the public landscape. The pad runs further through the cooling tower towards the Heksenbos forest in the region of Graetheide.

Three landscape experiments, the sulphate warehouse, the mine shafts and the cooling tower provide space to the biochemical experiment. Experiments from the laboratory will therefore be tested in the public park like an aesthetic experiment and spatial experience.

The hot water from the cooling tower, the polluted water from the mine shafts and the plastic mountains from the sulphate warehouse will form a new habitat for microbes from the lab.

Industrial heritage and processes will be the substrate on which a ‘chemistry of the future’ can come to life. Knowledge development will be made perceivable to the region in a radical new way. By fostering curiosity and fascinations among the ‘laypersons’ and ‘the experts’ of the campus, form will be given to the debate about our industrial landscape of the 21st century.

Graduation date 27 August 2018 Graduation committee Nikol Dietz (mentor), Rob Hootsmans, Riëtte Bosch, Erick de Lyon

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Drawing Brave New Substrate, combination drawing on halftone paper, hand-drawn with graphite, 6 x 1 metres. Section of the public route over the industrial site with rendered sections, detailed drawings of plants and shrubs, microbe communes, protein complexes and functional polymers that can be made in these bioreactors. Three pilot ecologies: the sulphate warehouse, the mine shafts and the cooling tower (from left to right). The public route over the industrial site makes this ‘industry of the future’ accessible to laypersons and experts.

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David Habets

Cooling towers in a metering field of symbiotic plant relationships, digital print and oil paint.

Hyperbolic ponds around the three mine shafts of the Maurits Mine, digital print and oil paint.

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Sulphate warehouse with PET compost heaps, digital print and oil paint.

Waterfall under the cooling towers, with new moss wall, digital print and oil paint.

Oculus of the cloud room at the top of the cooling towers, digital print and oil paint.

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David Habets

After the demolition of the coal ovens of the Stikstofbindingsbedrijf (Nitrogen Fixation Works, SBB), the two immense sulphate warehouses were built. This space of inhuman dimensions (500 x 40 metres) is vacant and it is on the demolition list. Large piles of PET debris will be sprayed from above with a water solution of Ideonella Sakaiensis and the fungus Aspergillus Tubingensis.

It is precisely in this desolation that this experiment of landscape scale will take place.

Visitors may periodically walk between the heaps. The surreal landscape of 10-metre high heaps will transform over time from virgin white to the dark black of the Aspergillus.

The mine shafts are hidden underground: they consist of a kilometre-long network of corridors of reinforced concrete. Since the closing of the mines, it is leaking at several spots where the soil layers are cut into, at fault lines and in mine shafts. The mine water is steadily rising by six metres each year. Precisely at this location, an artificial leak is made that can prevent outflow to the aquifer, by allowing it to leak in an overground reservoir.

Separated with a layer of red clay, the commune of mine microbes will rise to the surface here. Three water levels indicate the shafts and reveal the brick heads. The soil around

the shafts will be excavated hyperbolically in order to make a natural gradient for the groups of sulphate-reducing bacteria and the methaneproducing archae bacteria. The visitor walks over the edge and stares at the shadow in the deep green mine water.

Professor Van Iterson, the first director of the State Mines, designed the first passive hyperbolic cooling tower. The cooling function remains preserved. The ammonia factory will probably still be in operation for decades.

Every hour, 30 million litres of cooling water fall downwards, which is atomised at a height of 20 metres. By breaking open the shell of the tower, light will enter the tower and ‘physcomitrella patens’ spores can sprout. The lab experiment to cultivate human proteins in moss, will be tested here on a ‘pilot scale’ as ‘park’.

The end of the public route runs upwards via the curve of the cooling tower along the immensely large waterfall (60 x 10 metres) past a 10-metre high wall or ‘park’ of moss to a ‘cloud room’. Above in the world of mist, the clouds will rise full of life through the oculus of the tower. Even in the clouds, one finds life.

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Piles of PET as habitat for bacteria and fungi; a landscape of composting from the PET, which is almost impossible to break down, in the sulphate warehouse. Drawing East Indian ink on A3 paper.

Ideonelle Saikensis pile, a representation of microscope images from a lab experiment with Ideonella Saikensis at the campus. Drawing graphite on A3 paper.

PETase heap. PETase is the first protein complex discovered that can break down Polyethylene terephthalate. The chains that are represented show the complexity of the living organic chemistry.

Drawing graphite on A3 paper.

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Physcomitrella Patens tower: moss as reactor for human proteins. The moss Physcomitrella Patens is one of the Briophyte model organisms.

The moss lives on the nutrients from the cooling tower water. Drawing graphite on A3 paper.

Cooling tower habitat: the functioning cooling tower as habitat for an experiment from the laboratory. Drawing East Indian ink on A3 paper.

Glycoprotein tower. On a genetic level, mosses appear to be more complex than humans. They appear to be able to cultivate all protein complexes in the ecological niche of the Briophytes. Drawing graphite on A3 paper.

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Space for Nothing The value of an age-old landscape experience in the society of today Willemijn van Manen Room for Nothing is about the search for the makeable sublime. The project actually begins many years earlier, on top of a mountain. That is where I had the so-called sublime experience.

I want to know what makes this landscape experience. Based on this knowledge, I want to use the sublime as a means. A means with which a still point can be designed in our everyday environment. A moment of nothing. Briefly switching off stimuli and thoughts. A literal still point. First physical, then mental.

An increasing amount people take time off with symptoms of overstress. In 2016, this affected one in seven employees. On average, a person with burn-out takes four years to recover. Four years is 5% of an average human life. The impact is therefore enormous. What can I do as a landscape architect? Can the sublime be part of the remedy? To facilitate a moment of absolutely nothing in our daily life is the challenge. Therefore, what are the ingredients of the sublime experience? Endlessness, difference in height, a drop, scale, tension?

By combining a theoretical framework (Terrible Sublime, Moral Sublime and Environmental Sublime) with an extensive 278

reference study, I have specified sublime components that serve as point of departure for the design. Within my project, I have applied these components in Amsterdam-Noord (Amsterdam North).

Amsterdam-Noord already has many sublime splendours. The urban design experiments, the industrial areas and the sharp contrasts between city and landscape form an exciting whole with lots of space for nothing in-between. In rapid design exercises, titled ‘Wunderkammer-Noord’, I tested the sublime components before starting the real work: designing a sublime mould, or The Narrative, in which a residential or working area can be developed. I found an area that was unexpectedly not sublime and an area that actually was unexpectedly sublime. The Narrative shows one of the routes that can be taken through the area and takes the reader/observer along by the hand. It then becomes clear why certain design choices are made and which sublime effect they will have.

Graduation date 29 August 2018 Graduation committee Riëtte Bosch (mentor), Pepijn Godefroy, Mascha Onderwater

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The Floating Dock. While sailing towards the other side, three things catch the eye: The Long Wall, The Floating Dock and the Lightning Conductor.

The Three Gates. A little bit further on, one suddenly sees three gateways.

One in the long wall like a narrow passageway, one behind the long longitudinal side and a small red door left at the edge of the woods.

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The Crossing. Following the system of pipes leads to The Crossing.

There are a lot of new buildings on the other side. The old canal also used to be here. This has been made perceptible again.

The Long Behind. In the large void of the Long Behind contrasts — in reflection, material, repetition, endlessness versus nature, light versus dark — provide a feeling of amazement, excitement and mysteriousness.

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The sublime components. 38 sublime components, that can be divided into spatial components and eect components They provide a starting point for the design of the sublime.

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Willemijn van Manen

The narrative. The findings from the theoretical research, the reference study and the finger exercises merge together in the narrative. That leads to a design for the Albemarleterrein and the Vliegenbos.

Unexpected and unsublime. The location of the narrative: the unexpectedly sublime Albemarleterrein and the unexpectedly unsublime Vliegenbos.

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The Box in the Woods. If you take the correct exit, you suddenly arrive at The Box in the Woods. The contrast between the rhythm of the trees and the smooth wall provides a feeling of amazement/

The Door. At the end of the narrow path, the red door can be found. Behind the red door, you see the Long Wall in the distance where you just were.

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Willemijn van Manen

The Lightning Conductor. It is busy in evening hours at The Lightning Conductor. The square with 48 birches is lit from above and the shadows create an enchanting atmosphere.

The Vista. One of the three gateways is the vista. Here one can see 800 metres over the site. This doesn’t occur often in the city! There is no path to the opening. Are you allowed through here?

The dark box in the woods. The woods are for animals at night, but sometimes a few sneak past towards The Box in the Woods that appears enchanting by moonlight.

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Liquid Land The smallest particle as solution for the turbid Western Scheldt Anne Nieuwenhuijs The Western Scheldt (Westerschelde); one of the last open tidal inlets that our country still possesses. It is one of the busiest waterways in the world and completely dyked, so that we can live safely in low-lying polders while ships make their way through to the ports. Although it is a nature conservation area, functionality prevails, its recreational values are barely present and natural dynamics are under pressure.

The Western Scheldt is an estuary: an open tidal inlet that is simultaneously a river mouth, with specific characteristics, such as a large tidal dierence, salinity gradients and turbid water. Turbidity restricts the growth of algae, the basis of the food chain and that has disastrous ecological consequences. In the last half century, the increased scale of the shipping industry and dredging works have caused the Western Scheldt to become deeper on average and, as a result of that, more turbid.

The turbid water of the Western Scheldt has suered from the smallest particle: the negatively charged silt particles. They bind positively charged toxic materials, such as dioxins and heavy metals. Because the river basin of the Scheldt has a rich toxic history, 286

as a result of industrialisation, urbanisation, pollution and the long delay in upstream water treatment, there is a lot of polluted silt in the Western Scheldt.

The silt is therefore the crux, but can also form the solution to the problems of the estuary.

Liquid Land introduces concrete measures that oer a solution: moving along with the estuary, less water in the system, capturing and processing polluted silt in order to use it as building stones with which siltation and dune formation are stimulated.

The polluted silt will be used in a building stone, a block of silt. The spot where the polluted silt is concentrated, namely the toxic mine close to the Nauw van Bath channel, will change through the construction of a double dyke in a treatment landscape. The dyke will also form the embankment with which the blocks will removed to be used elsewhere in the Western Scheldt in order to provide new dynamics, siltation, dunes and accessible landscape.

Graduation date 13 April 2018 Graduation committee Roel van Gerwen (mentor), Marlies Boterman, Marit Janse

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The silt block to which the landscape-forming natural forces of the Western Scheldt react.

Treatment landscape in the Nauw van Bath.

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The estuarine dune landscape near Borssele.

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The toxic mine: the treatment landscape in the Nauw van Bath, opposite the Drowned Land of Saefthinge, is a lagoon where the silt in the ebb tide can sediment.

New sand: estuarine dunes develop around the village of Borssele, orchestrated by the silt blocks that form groynes.

Toxic history of the Scheldt: polluted silt in the Western Scheldt as a result of industrialisation, due to pollution of the river basin of the Scheldt and the long delay in upstream water treatment.

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Anne Nieuwenhuijs

The problems of the Western Scheldt are inextricably linked with the smallest particle. What are the perspectives if the silt particle is used to receive the natural forces of the estuary.

At the Nauw van Bath, perforated needles drain away the silt. A double dyke creates a sheltered, 500-hectare large area where silt-rich ebb tides flow into two times per day.

This treatment landscape is unfriendly for fauna. The needles are sharp and white in order, for example, to scare away birds. No plant life will develop here and no salt marshes and mud flats are created, because the silt is drained away during the low water. It is a landscape of stagnation that provides the building stones for the estuary.

The building stone, the silt block, references the hexagonal silt particle in its design.

The block is solid, modular, scalable, and has one shape.

The shape is such that several blocks together form endlessly varying interspaces, that are an attractive locations for plant and animal.

The silt block is also an object in itself that suits the rugged Western Scheldt.

It is an object to which the landscape-forming forces react: current, wind and tide provide siltation, erosion grooves and pools. Plants and animals cling there in high tide, mid-tide and low tide.

The conditions for duneforming exist along the banks of the Western Scheldt in the form of supply of sand to the North Sea and through inland wind. What’s missing is shelter for the sand to settle, a gentle gradient and space for the wind to blow the sand inland.

There was originally an expansive dune area close to Borselle, but that has been swallowed up by the port of Vlissingen. Due to the steep bank and the strong flow, the flood stream cannot deposit any sand. This is exemplary for the area.

The design makes provision for reefs of silt blocks at the foot of the current sea dyke.

The high water dyke will be moved inland along the Western Scheldt tunnelweg that forms the boundary of the sand. A contrasting landscape can arise between the world of agriculture, and the industry and the world of the new sand.

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Sand-related tourism: the dynamism and drifting of estuarine dunes have appeal.

Treatment landscape: the dyke forms a sheltered area where the silt gets left behind and can be drained away.

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Anne Nieuwenhuijs

Perforated needles: the silt is captured and drained away during the ebb tide.

Liquid Land: Borssele as island in an interplay of natural forces.

View of the port: the dyke opens up the Western Scheldt to cyclists and hikers.

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The Frisian Land Full of honour and glory Paul Plambeck The way the Frisian peat meadow area can be transformed into an adaptive landscape with a natural balanced water regime, an innovative and circular agriculture and an intrinsic beauty as source of regional pride has been the topic of this project. Given the current climatic, economic and social problems, a desperate desire to hold on to the current polder landscape is untenable and calls for a radical transformation.

The intensive land use has, due to groundwater lowering, led to oxidation of the peat resulting in soil subsidence. As a result 4.2 megatons of CO2 is emitted in the Netherlands; the province of Friesland’s share is 1.7 megatons. The damage through soil subsidence to houses and infrastructure, as well as climatic developments, such as sea-level rise and salinisation, necessitate a robust and future-proof water system. The dairy farming in the Frisian peat meadow area is the world’s most innovative and eďŹƒcient sector, and therefore an important spatial and economic carrier. An increasingly large imbalance is arising between cost price and milk price; it is becoming impossible to operate a business.

The guiding principle in this project is a complete halt to soil subsidence and the 294

preservation of dairy farming as spatial and economic carrier. This requires the complete rewetting of the peat soil, a circular and selfsuďŹƒcient business system and a circular agriculture on the scale of the province of Friesland. On the basis of the soil typology, two business models have been developed that are in keeping with the natural water regime of the peat soil as marshy landscape. The first is a circular and self-suďŹƒcient business model of a clay layer on a peat soil. The water level will, in that case, be above the existing ground level in order to protect the clay layer as top layer and counteract oxidation of the peat. The other business model makes use of a peat soil.

Active rewetting creates a boggy soil. With the introduction of four landscape-forming building blocks, each polder can be individually transformed into an adaptive landscape, on the basis of which the individual farmer or the farmer collective can adapt their business system. In short, a transformation that not only keeps producing intrinsic beauty as source of regional pride, but as a result of which Friesland will remain independent and indispensable!

Graduation date 20 June 2018 Graduation committee Peter Veenstra (mentor), Nikol Dietz, Harm Veenenbosch LANDSCAPE ARCHITECTURE

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The basis for the master plan for an adaptive landscape is formed by three landscape zones with a specific drainage and four landscape-forming building blocks.

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Water passage as landscapeforming building block in the polder areas with a peat soil.

Water reservoir as landscape-forming building block in the polder areas with a clay layer on peat soil.

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Three landscape zones each with their own drainage based on the soil typology, form the basis for a circular and self-suďŹƒcient business model.

Circular and self-suďŹƒcient business system: a new relationship between farm and the land.

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Paul Plambeck

Circular and self-sufficient business model on peat soil.

Circular and self-sufficient business model of a clay later on a peat soil.

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Transformation at polder level into ‘wetland’ with the implementation of the water passage for the intake of water by gravity.

Intermediate storage basin as breeding ground for freshwater fish and water buer for the intake of water by gravity in the individual plots.

Water passage for the intake of water with fish ladders for the migration of fish between storage basin and polder.

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Paul Plambeck

Storage basin ring as landscape-forming building block in the deep peat polders.

Transformation at polder level with the implementation of an intermediate storage basin and water reservoir for the cultivation of water fern and algae.

With four landscape-forming building blocks, each polder can be individually transformed into an adaptive landscape.

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Tirana The informal city and its public space Mark Spaan Tirana is the capital of Albania. The collapse of the the communist regime in 1991 resulted in mass migration. Many Albanians moved to the capital. They settled there illegally along the outskirts of the city in self-designed houses; the informal city was a fact. Twenty-five years later, this unregulated growth is causing serious problems in Tirana. Examples of this include high unemployment, a lack of public spaces, floods and (waste) pollution. Large-scale master plans of the government for the city have had little success. The proposed top-down approach does not work in this city. That is why the graduation project focuses on the informal city. The dynamism and strength of these ares will be used a motor for urban transformation.

By beginning precisely in the informal districts where the problems lie, and tackling these districts hands-on, there is a better chance of successful developments. The graduation research advocates the development of new public spaces in the informal city. These public spaces will make use of local qualities and energies in order to solve the problems of the district and the city. In order to make space for these new public areas in the high-density housing, a strategy was devised. This is based 302

on a comprehensive approach to aspects like water regime, economics, accommodation and recreation, and focuses attention on the current residents of the districts. The residents will be challenged to make an active contribution to their district; it is based on their existing enterprising attitude.

The first step in the process is to develop a park at the empty spots, and to make use of the vacant complexes in the district, which arose after the departure of the industrial sector.

A new type of public space will be developed at this location: a public production park. A network of roads will gradually be developed from the park, which will not only attract people to the park, but that will also be responsible for the transport of water and residues. People can even make smaller public spaces, such as local parks, on this road structure themselves.

This principle is developed in such a way that it can grow into a network that extends throughout the entire city, so that large-scale structures will also be connected with each other.

Graduation date 20 September 2017 Graduation committee Bram Breedveld (mentor), Francesco Garofalo, Lodewijk van Nieuwenhuijze

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Public production park. The public production parks are a new type of public spaces that combine small production, recreation and buer zones in one park.

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Mark Spaan

Development plan. Plan for the LaprakĂŤ neighbourhood based on the proposed development strategy. All elements, such as parks, pockets and streets are combined.

Elements. For each strategic element there is an elaborated plan, which shows the potential of public places and how to integrate production, water and recreational components.

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Network of pocket parks. These grass root projects of the inhabitants form a network of small public spaces based on local desires.

Creating a sustainable water system includes the transformation of the rainwater system, the unloading of sewers, evaporation, buering, infiltration and use of rainwater in the production parks.

The pocket parks are the smallest public spaces in the strategy, developed by the inhabitants of the informal city.

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Mark Spaan

In the previously mentioned public production parks, smallscale and manual factories will be developed in which waste materials from the district will be transformed into new products, such as paving material. This will provide work for the currently unemployed local residents. Rainwater will be collected and buffered from the nearby district, after which it will be used in the recycling process. As a result, a local symbiosis will arise. What is unique about these parks is that in addition to production, they will also produce recreation areas and buffer zones. They will become green oases in the city, where people can retreat from the busy city.

The smallest public spaces, the local parks, neighbourhood gardens, playgrounds, allotments or squares with a small café, will be developed by the residents themselves in exchange for legalisation of their homes, since nothing is so desirable in the informal city as owning a legal home. This will provide the residents with security for the future. In this way, the legalisation is a means of mobilising people to develop public outdoor spaces, which will be designed according to local needs. In order for these smaller spaces to play a role within a greater whole of water and green networks, guidelines have been drawn up, which the

residents have to observe. For the materialisation, use will be made of the production from the local public production parks.

The strategy for the development of these spaces will initially be tested at one district. The appearance of the district is small enough to understand and large enough to test the structures. Following a successful test, the strategy can be rolled out in order to turn the entire informal city into the most desirable district of the city.

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Programmatic design for the development of the economy, of recreational spaces and of a flood risk management for the informal city.

Actors

Government

Means

Inhabitants and entrepreneurs that develop pocket parks in their neighbourhood are oered legalisation of their houses and licences for their businesses in return. It connects them to the city on a material and emotional level.

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Mark Spaan

The toolbox for developing the informal city is used for creating public space and developing it into squares and parks in the informal city. The inhabitants' waste becomes their new furniture.

The advice for working in the informal city is to use its own strengths instead of enforcing standardised approaches.

Public production park — Concrete Jungle. The park combines the manufacturing of concrete street furniture with a lowered natural garden and a circular swimming pool.

The products of the public production parks are used to furnish the newly made pocket parks.

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Al’Zaatari Reconnecting the landscape Mark van Vilsteren The Al’Zaatari refugee camp in Jordan is the third-largest refugee camp in the world. The camp is situated approximately 70 km to the north-west of the capital Amman. It is located almost in the middle of the desert. The camp currently accommodates more than 80,000 refugees.

The refugees have already been living there around five years in appalling conditions. In addition, the camp is on the way to becoming a permanent (informal) city. Due to the generic layout and the temporary approach of refugee camps in general, all kinds of structural problems arise the older the camp gets. Moreover, the refugee camps are not built in relation to the existing landscape, as a result of which this existing landscape is ultimately also experienced as a burden.

Instead of using the generic and temporary approach as guiding components for the layout and development of refugee camps, I want to show that the specific element of the location, namely the existing landscape, can make a major contribution to the layout and development of refugee camps. The quality of life of the residents will ultimately increase as a result.

In the case of Al’Zaatari, I have used the current water problems as motive for the further development of the camp. In the autumn and in 310

the winter, a lot of rain falls, as a result of which inconvenience is caused by water within the refugee camp. Due to the poor soil conditions (rammed clay), the water stagnates at many locations, which leads to health risks and affects the primary necessity of the refugees, namely housing. In addition, the topography of the landscape was not or barely examined when designing the camp. As a result of this, the water flows towards important facilities, such as hospitals and schools.

By extracting the water from the different parts of the camp during the wetter periods and subsequently collecting it in large water basins, the water problem will be solved. The water can subsequently be used for irrigation and greening in the dryer periods. The water basins will ultimately form the future parks and accommodations within the permanent (informal) city. The water system of canals is integrally designed, so that is also functions as a secondary system of paths for the residents.

The graduation project is therefore a comprehensive development plan for Al’Zaatari and its residents.

Graduation date 14 February 2018 Graduation committee Joyce van den Berg (mentor), Michiel van Driessche, Hans van der Made LANDSCAPE ARCHITECTURE

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Water basins. The water basins ultimately form the basis for the future accommodations and parks where people can come together and find cooling against the heat.

Integration of water system. The integrated water system ultimately provides a new structure and necessary space for the camp that is transitioning to a city. Linked to this structure, or the network, there are accommodations that function at various scale levels.

There are for example places that transcend the neighbourhood, or functions, like a hospital or a school, that serve the entire camp.

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Mark van Vilsteren

The existing landscape framework is a development perspective within which the water as structuring element is key to the further development of the current camp into a city.

The landscape as opportunity for development. In the winter period, stagnating rainwater causes a lot of inconvenience. By collecting the water in basins, it can be used for greening in dryer periods.

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Profile Medina Khazzan. When designing the water basins, the climate and accommodation function were used as the guiding principle. The sunken location protects against vaporisation of the water and the helophyte filters at the sides provide improved water quality and shadow.

The use of the basins will dier per season in connection with the varying water levels. The materialisation consists of concrete and basalt; local materials that have a porous and rough surface. The basins contribute to the microclimate and the greening on-site.

Saha — Buurtplein. Through the use of water as design tool, neighbourhood squares are created at the intersections of the water system, to which neighbourhood functions are linked.

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Park Khazzan. The larger water basins that function as a park are located just outside the camp. The basins also function as water storage for the irrigation of the agriculture outside the camp.

Mark van Vilsteren

Profile Medina Khazzan. When designing the water basins, the climate and accommodation function were used as the guiding principle. The sunken location protects against vaporisation of the water and the helophyte filters at the sides provide improved water quality and shadow. The use of the basins will dier per season in connection with the varying water levels. The materialisation consists of concrete and basalt; local materials that have a porous and rough surface.

The basins contribute to the microclimate and the greening on-site.

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Jasmin Street is one of the two biggest shopping streets (suq) of the camp. Everything is being sold, televisions and other electronic devices, but also groceries and falafel.

Development of Al’Zaatari. The oldest part (red) was almost set up without guideline and appears organic. The younger parts consist of generic, rigid grid structures.

Generic + Specific. The generic layout of the camp must be linked to the specific conditions of the landscape. On that basis, the residents can develop further.

The concept is based on the age-old water systems that the Middle East has: the Aflaj and Qanat systems. This forms the basis for the designed water system in the landscape framework.

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Mark van Vilsteren

Medina Khazzan, looking at the urban water bassins, with the mosque in the background and on both sides, constructed wetlands provide improved water quality.

Sheltered secondary system of paths (network). Because the irrigation system is flanked by small-scale agriculture and water is used for greening, sheltered paths are created through the camp.

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Silence in the Rush Contemplation amid the hectic pace of the current society Thomas Wolfs We are living in a restless society. A society in which multiplicity and speed are dominating and valued: we work harder, longer and have more stress. There is a lot of pressure involved, which is not only a societal problem, but also a spatial problem. There is a clear trend of restlessness in society that is being amplified in the city.

This rushed way of living has negative eects on both physical and mental health and is reflected in the increasing number of people with burn-outs and people experiencing increasing amounts of stress, suering from heart attacks and exhibiting escape behaviour, etc. These medical issues are strong indicators of a growing problem. The scream for silence is not only an individual problem, but it is a representation of a larger societal problem. This amplifies the urgency for a solution!

Therefore, this current discrepancy between the restlessness in the city and the silence outside of it needs to be resolved. Silence needs to be integrated in the city so we can bring back balance into our daily life.

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With my design, I contribute to the amount of silence and peace in the city. The interventions are made in the Amsterdam Central Station area, an area of transition. Instead of planning a public space that stimulates more action and encounters or a hectic way of living, the proposal is to create places to slow down, to take a rest or to contemplate. In this way, the space not only adds to the mental and physical health of the inhabitants of the city, but it also contributes to an overall more pleasant living environment in the city.

Graduation date 29 January 2018 Jana Crepon (mentor), Jens Jorritsma, Sarah van Sonsbeeck

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By creating places along the square this moments of silence are facilitated on a daily basis.

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Thomas Wolfs

The rush of people and the slowness of nature come closely together. Creating moments of silence in the hectic environment of the city by organising flows and creating places.

Where the pressure is the biggest (at the square of the Central Station), the flows are unravelled on two dierent levels. The level underground provides access to the places.

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Unravel

Barrier-free road

Echo canceling material

Surface material

Shelter

Sidetrack

clarity

Acoustic ecology

Exclosure internet

Sitting down

forced stillness

Narrow

Relaxing natural perfume

View on nature

Contrast many | few

Fasten / slow down

Shared space

Forced nature experiece

Contrast city | nature

Lowering

Seperated space

Porch

Enclosure

Elevation

Buer

View on water

Inaccessible silence

Flows (column 1-2) are the tangible, spatial elements that cause a crowded city. By unravelling the flows and making space, we tackle the cause of spatial pressure in the city. Places (column 3-5) are spatial solutions for the consequences of the crowds. The cause of this pressure people experience in crowds is not necessarily spatial.

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Thomas Wolfs

The flows at the level under the square are more dependent on the infrastructure and less on the perception of the city; green spots trigger people to take a break and to stroll through the green places.

Semi-transparent glass around the place provides privacy inside of it, while it remains visible from the outside to attract people.

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The pocket park is related to the boardwalk, not to the platform. By this clear separation it can fully fulfil its function as a resting place.

The square in front of the central station is the heart of the rush. Therefore, the flows are optimally separated and places for peace are created on two dierent levels: at the level of the square and at the level underneath.

By spreading the flows, the pressure on the city is reduced.

The station square has become more open, as the trams and bikes are not part of it anymore. In order to compensate the rush, the design of various resting places is important.

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Thomas Wolfs

Once the lowered green space is entered, the sound of water overpowers the noise of the city. It is a small and quiet place.

In their hurry, the people are influenced by and put at rest at the green spots on the lower level where they can actually enter the green places. In this way, they can experience moments of rest on a daily basis. As the green spaces are at water level, a green zone of tree tops can be experienced on the main square of the station. Together with greenery on the square level itself, it creates a green passage to and from the city.

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Amsterdam Metropolitan Area Metropolitan City Accessible to everyone Martijn Veenstra 226

Houthavens The Artisan’s Home Valerio Falconi 30 Spaarndammerbuurt From One Room to Another Christiaan Schuit 134

Noorderpark Noorderpark Church Gerben Strikwerda 150

North Westerpark Space for Nothing The Workshop, our Workshop Willemijn van Manen Koen Vos 278 182 Central Station The IJ Silence in the Rush Dance Venue on the IJ Thomas Wolfs Nadine der Kinderen 318 70 Centre 17 Liquid Life Luuc Sonke 142

Centre Claustrum Silentium Nicky Kroes 78

South Campus Cultura Meintje Delisse 22 Southeast Campus Invisible Youth Ashkan Hashemkhani 46 Schiphol Reopening Democracy Alexey Boev 13

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The Netherlands

Ameland Fortress Heat Vincent van Leeuwen 94

Friesland The Frisian Land Paul Plambeck 294

Purmerend History Unearthed Jordy van der Veen 174 Zandvoort Celebrating Speed Jaap Leek 86 Zoetermeer Regenerate Zoetermeer!

Koen Vermeulen 234

Middelburg Matière et Mémoire Joost van der Schoot 126

Flevoland Day Twenty-One Leonardo Kappel 62

Amersfoort Track Jeroen Pot 118

Utrecht Wolvenplein Refuge Roy van Maarseveen 102 Utrecht The Bread Factory Maarten Hoeijmakers 54

Western Scheldt Liquid Land Anne Nieuwenhuijs 286 Geleen Brave New Substrate David Habets 270 Wahlwiller Ground for Contemplation Dennis Meijerink 110

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Europe

Bolesławiec Concordia Natalia Sułkowska-Bakker 158

Paris Le Front Pépinière around Paris Annelies Bloemendaal 254 Bregenz Forest Landscape as House Zervreila Anna Maria Fink Circular 262 Eric Goldhoorn 38

Guadiana River Valley Evolving Lower Guadiana Barrios Ayala 245

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Llançà Perpendicular Dex Weel 190

Rome The Eternal City Koen Hezemans 210

Crimea Un-United Nations HQ Lesia Topolnyk 166

Tirana Tirana Mark Spaan 302

World

Aleppo The Soul of the City Bengin Dawod Abdullah 201 Zaatari Al’Zaatari Mark van Vilsteren 310

Havana Towards a Happier Havana!

Iruma Rodríguez Hernández 218

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Architect, Master of Science Urbanist, Master of Science Landscape Architect, Master of Science Architects, urbanists and landscape architects learn the profession at the Amsterdam Academy of Architecture through an intensive combination of work and study. They work in small, partly interdisciplinary groups and are supervised by a select group of practising fellow professionals.

There is a wide range of options within the programme so that students can put together their own trajectory and specialisation.

With the inclusion of the course in Urbanism in 1957 and Landscape Architecture in 1972, the Academy is the only architecture school in the Netherlands to bring together the three spatial design disciplines under one roof.

Some 350 guest tutors are involved in teaching every year. Each of them is a practising designer or a specific expert in his or her particular subject. The three heads of department also have design practices of their own in addition to their work for the Academy.

This structure yields an enormous dynamism and energy and ensures that the courses remain closely linked to the current state of the discipline.

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The courses consist of projects, exercises and lectures. The design projects form the backbone of the syllabus. On the basis of a specific design assignment, students develop knowledge, insight and skills. The exercises, often linked to the design projects, are focused on training in those skills, such as analytical techniques, the use of materials, text analysis, and writing. The morphological studies concentrate on the making of spatial objects, with the emphasis on the creative process and making projects, gaining experience in converting an idea into a creation.

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

Graduates from the Academy of Architecture are entitled to the following titles: Architect, Urbanist, and Landscape Architect, with the addition Master of Science.

A self-chosen graduation project and committee guides the student during the last year’s master proof: the graduation project.

The final exam is being examined by their mentors and two added examiners.

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Examiners 2017 — 2018 Maud Aarts Mariëtte Adriaansen Joyce van den Berg Jaap Brouwer Riëtte Bosch Tess Broekmans Bart Bulter Jana Crepon Nikol Dietz Bruno Doedens Rik van Dolderen Elsbeth Falk Roel van Gerwen Micha de Haas Jochem Heijmans Joost van Hezewijk Lada Hršak Floris Hund Bastiaan Jongerius Huub Juurlink Herman Kerkdijk Hanneke Kijne Klaas Kingma Ira Koers Mirjam Koevoet Judith Korpershoek Wouter Kroeze Miguel Loos Marcel van der Lubbe Jeroen van Mechelen Berdie Olthof Jarrik Ouburg Miranda Reitsma Ingeborg Thoral Gus Tielens Jolijn Valk Harm Veenenbos Saline Verhoeven Philomene van der Vliet Iris Wijn Roel Wolters Herman Zonderland

Colophon Advisory board Markus Appenzeller, Joseefke Brabander, Hanneke Kijne, Madeleine Maaskant, Jan-Richard Kikkert, Maike van Stiphout Editors Vibeke Gieskes, Bruno Vermeersch, Michiel Zegers Special thanks to Klaas de Jong, Janna Verhoeven Translation and text correction Richard Glass Graphic Design Arthur Roeloffzen Printing Art Libro | Coers & Roest Publisher Amsterdam Academy of Architecture Waterlooplein 213 1011 PG Amsterdam The Netherlands T +31(0)205318218 info@bwk.ahk.nl www.academyofarchitecture.nl All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy or any storage and retrieval system, without permission in writing from the publisher. Whilst every effort has been made to ensure accuracy, the Amsterdam Academy of Architecture does not accept responsibility for errors or omissions.

The Amsterdam Academy of Architecture has endeavoured to trace the copyright holders of all the illustrations. Anyone who claims entitlement to copyright should contact the publisher. © 2018 Amsterdam Academy of Architecture ISBN 978-90-827761-6-4

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Graduates 2017 — 2018 Architects

Urbanists

Alexey Boev Meintje Delisse Valerio Falconi Eric Goldhoorn Ashkan Hashemkhani Maarten Hoeijmakers Leonardo Kappel Nadine der Kinderen Nicky Kroes Jaap Leek Vincent van Leeuwen Roy van Maarseveen Dennis Meijerink Jeroen Pot Joost van der Schoot Christiaan Schuit Luuc Sonke Gerben Strikwerda Natalia Sułkowska-Bakker Lesia Topolnyk Jordy van der Veen Koen Vos Dex Weel

Bengin Dawod Abdullah Koen Hezemans Iruma Rodríguez Hernández Martijn Veenstra Koen Vermeulen

Landscape Architects Lourdes Barrios Ayala Annelies Bloemendaal Anna Maria Fink David Habets Willemijn van Manen Anne Nieuwenhuijs Paul Plambeck Mark Spaan Mark van Vilsteren Thomas Wolfs

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