The urban scenery of Ypres as a design strategy

THE URBAN SCENERY OF YPRES AS A DESIGN STRATEGY

The Ghost Client - Master Dissertation International Master of Architecture, KU Leuven, campus Ghent

Caroline Versteden

@All rights reserved under International Copyright Conventions. No part of this publication may be reproduced in any form or by any means, electronic or mechanical, including photo-copying, recording or by any information storage retrieval system, without permission in written form of the publisher or specific copyright owners.

Work and publication are made during the course of a personal master dissertation project, within the project of 'The Ghost Client' of Ypres.

Acknowledgements Special thanks to the city of Ypres for their unconditional support.

Book edited by Caroline Versteden Co-editors Gisèle Gantois Author Caroline Versteden Contributions from Gisèle Gantois Cover picture @ Caroline Versteden Institution Faculty of architecture, KU Leuven International Master of Architecture Campus Sint-Lucas, Ghent Class of 2016-2017

The Ghost Client As a metaphor for the actual significances of a place which are not always visible at first but often are at the very centre of the challenge of a new project.1

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Gantois, G., 2016-2017, Preamble Reflectionpapers Methodology - Interactive Journeys, KU Leuven.

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“Walkers are ‘practitioners of the city,’ for the city is made to be walked.

A city is a language, a repository of possibilities, and walking is the act of speaking that language, of selecting from those possibilities.

Just as language limits what can be said, architecture limits where one can walk, but the walker invents other ways to go.”

- Rebecca Solnit, Wanderlust: A History of Walking

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TABLE OF CONTENTS THE SURVEY 1. INTRODUCTION 9-1 THE CITY OF YPRES THE GHOST CLIENT - prefase

9-11 12-13

2. GETTING IMMERSED 15-33 METHODOLOGY - INTERACTIVE WALKING Step 1: JOT BOOKLETS CARTES PARLANTES, THE CREATION OF AN ATLAS

Step 2: ARTISTIC MAPS Step 3: COUNTER MAPPING

15-21 22-33

3. PROBLEM STATEMENT 35-37 4. RESEARCH QUESTION 39-43 5. CONTEXTUALIZATION 45-59 REFERENCE CASE 1: DENSIFICATION - 'De Meersen - De Looie in Ypres' REFERENCE CASE 2: LAYERING, EXPERIENCE - 'Caminada and Zumthor' REFERENCE CASE 3: COLLECTIVE LIVING - 'Roman Insula' REFERENCE CASE 4: Le Corbusier - Promenade architecturale REFERENCE CASE 5: Le Corbusier - The framed view REFERENCE CASE 6: Adolf Loos - About The House REFERENCE CASE 7: Victor Horta - House Studio REFERENCE CASE 8: Jan Pieper - Haptic experience of urban space through body movement CONTEXTUALIZATION and CONCLUSIONS out of the case studies

45-47 48 49 50-51 52-53 54 55 56-57 58-59

RESEARCH METHODOLOGY 6. URBAN STRATEGY 61-65 7. DEFINING THE SITE 67-75 SECTION THROUGH THE CITY - defining the site MAIN SECTION THROUGH THE CITY - model based on section 'A' MAIN SECTION THROUGH THE CITY - private/collective/public

8. REVERSING THE SCENERY

67-71 72-73 74-75

77-81

THE DESIGN 9. URBAN STRATEGY RULES 83-85 10. DESIGN FACTORS 87-99 11. THREE KEY CASES 101-103 12. THE DESIGNS 105-141 1. OUTSKIRTS 2. HISTORICAL CENTRE 3. FORMER WORKERS' HOUSES

105-115 116-123 124-141

TERMINOLOGY 143-146 BIBLIOGRAPHY 148-152 7

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THE SURVEY 1. INTRODUCTION

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Fig. 01. Abstract map of Ypres.

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Fig. 02. Distric Ypres.

Fig. 03. Ypres situated in province West Flanders.

THE CITY OF YPRES Ypres is a Belgian municipality located in the Flemish province of West Flanders.

During the First World War, Ypres was the centre of Battles of Ypres between German and Allied forces.

After the war the town was rebuilt using money of Germany in reparations, with the main square, including the Lakenhalle (Cloth Hall) with the Belfort (Belfry Tower), being rebuilt as close to the original designs as possible.

Despite the fact that the number of reconstructions to the pre-war model remained fairly limited, the front town Ypres has a fairly homogeneous view. This because the appearance and style, show most of the buildings in reconstruction. The term used to define this style became the ‘reconstruction style’ or ‘vieux neuf’. The reconstruction architect(s) handled mostly back to the Flemish Renaissance and refering to the Neo Gothic style, with regional characteristics. Mostly designed by an outstanding façade architecture, the so called “old” facade, hiding a modern interior layout using modern materials. Some key features are the use of the yellow brick (polder clay), preventing wood frame structures in different forms and a facade on a plinth of sandstone. Despite the traditional “old” view, many concessions were made to the modern age: garages for the automotive and large storefronts were integrated into the whole.

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Fig. 04. Ypres Belgium 1917 The Cloth Hall and Ypres Cathedral in ruins after the 3rd Ypres offensive, by Australian War Memorial (AWM).

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THE GHOST CLIENT Preface "The Ghost Client has to be seen as a metaphor for the actual significances of a place which are not always visible at first but often are at the very centre of the challenge of a new project.

We can never discover the fragile meaning of place just by doing formal survey or by only collecting information. We also need to get insight by collecting meaning.

Interactive Walking as a Tool to Investigate the Cultural (Urban) Landscape is a three step methodology to facilitate the process of getting immersed into the site to investigate, generating new knowledge by confronting individual experience to existing expert knowledge.

This methodology is developed within the framework of the PhD research: The architect as third-person narrator. Tracing the deep significance of built heritage through encounters with undisclosed protagonists."

(Gantois, Gisèle, 2014-2018, KU Leuven)

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2. GETTING IMMERSED

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Fig. 05. Main views of Ypres out of my jot booklets.

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METHODOLOGY INTERACTIVE WALKING

Step 1 - JOT BOOKLETS

"Although the act of walking may seem to be random, our final goal is to engage more of the voices of people into our future projects with the objective to come to better and socially better accepted projects. As a storyteller does, we have to listen to both the stories of natives and newcomers and add from our own experience. We have to take time to step across the roads, to visit the places of which they tell us. Storytelling can thus be considered a spatial practice. Although walking is an individual spatial experience, while walking, we come in a state where we make ourselves open to new encounters and new discoveries. Walking becomes then interactive.

The ‘Protocol for Walking’ in letter 1 (Oktober 5th, 2016) provides a handle to start the research and precises WHAT to do but not HOW to do it.

The exploration of the site takes place on several consecutive days (in-situ research week - 07.11.2016 – 11.11.2016). As strangers, we need to orient ourselves by pointing places of reference. We associate new discoveries with memories of events we know from other places and thus create our own personal map. These journeys are indicted in small jot booklets, A7 format folded out of an A4 piece of paper. These little devices serve as an indirect tool to get immersed into the site and develop a lens or field of interest through which we look at the site."

(Gantois, Gisèle, Methodology-Interactive journeys, 2016-2017, KU Leuven)

My field of interest In the pages of the jot booklets I drew elements, views and situations that attracted me.

By drawing them at the moment I learned how to analyse elements in the way to draw them down directly, such as taking a picture, but in this way it is registering something with much more attention.

When the booklet is folded open entirely, a map can be found of the walk made that day, completely reconstructed out of memory. It is clearly visible that the more walks and booklets I made the more things I remembered and the better I could reconstruct the route and positions of all the elements in the city.

During this walking process I focused more and more on the views determined by the city composition, so I added one favourite view of the day to each booklet.

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Fig. 06. Interactive walk 7.11.16.

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Fig. 07. Interactive walk 8.11.16.

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Fig. 08. Interactive walk 9.11.16.

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Fig. 09. Interactive walk 10.11.16.

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CARTES PARLANTES, THE CREATION OF AN ATLAS "‘Cartes Parlantes’ refers to the modern historian François de Dainville who used the term to describe how in the Middle Ages hundreds, or even thousands of individual plots of land in a set of fields were listed, giving the exact location of each. According to Sack2 they were judged in accordance not with the adherence to coordinates or scale, but rather with the faithfulness with which they described relationships between people – usually landowners – and their physical environment. A map could be conceived not to represent either manor in its entirety, but rather to document the point of their meeting and source of most likely conflict.

In the context of the PhD research3 the Carte Parlante turns into a means to map the implicit (the invisible, the intangible, the empirically unverifiable), in contrast with the traditional cartography (topographic, cadastral and planimetric maps) where the attention is nearly exclusively oriented towards the visually explicit (the physical matter in the form of spatial objects) and where spaces are evoked that appear static and layered. The Carte Parlante (Cattoor4 calls it re-cartographic or counter maps) goes beyond the standardised procedures of object classification, and opens up towards the implicit to include the mapping of elements of space (relations, context) and elements of time (process). Cartes Parlantes have the agency to ‘discover new worlds within the past and present ones; they inaugurate new grounds upon the hidden traces of a living context and actualize those potentials’5.

Step 2 – ARTISTIC MAPS

Referring to Psychogeography, the artistic maps are developed from memory, imagination and experiences on location within the existing geographic environment. We reflect upon the own individual discoveries that we noted in the jot booklets.

Step 3 – COUNTER MAPPING At this point we transcend our own experience and integrate more of the voices of other people – exploring and highlighting relationships between elements of space and between elements of time.

These counter maps will basically start from commonly accepted maps such as topographic or road maps but they will be recast as a series of alternative mappings in which the (urban) landscape is re-imagined.

If we think about the physical world, towards which traditional cartography is nearly exclusively oriented, context will have a dimensional (empirically verifiable) and a historical dimension, both of which go to make up the layering and slicing of the place with masses and territories with enclosures or boundaries that determine the (urban) landscape. For inhabitants however the territory comprises not necessarily the surroundings of a bounded place. Subdivision fades into the background of human experience because it is omnipresent: building and parcel are receptacles for people and events, endlessly moved, exchanged, replaced, forgotten. If we reframe space in terms of a palimpsestic territory as Corboz6 does, we address issues of scale as well as issues of periodization7.

The atlas of Cartes Parlantes narrates novel stories about the place. Mapping is practised here ‘less for its indexical, purely analytical or representational qualities, than for its meaning generating qualities and its ability to shift our perception’8.

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We can state that Interactive Walking is a non-linear way to discovery, characterised by serendipity, which is definitely different from discovering by chance. We do not search for a specific solution; we are just open to it.

Serendipity demands a great intellectual openness, the capacity of being flexible in changing our methods and tools adapted to our findings and by being very curious.

The atlas of Cartes Parlantes has already the beginnings of an architectural project in it."

(Gantois, Gisèle, Preamble Reflectionpapers Methodology - Interactive journeys, 2016-2017, KU Leuven)

My focus My atlas is designed in a way that every Counter Map is associated with an Artistic Map. The two maps talk about the same topic and are related to each other, showing my experience in the Artistic and showing my findings and analyses with it in the Counter Maps.

2

Sack Robert David, 1986, Human Territoriality: Its Theory and History. New York: Cambridge University Press, 100:62.

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Gantois, G., 2014-2018, The architect as third-person narrator. Tracing the deep significance of built heritage through encounters with undisclosed protagonists. PhD research, KU Leuven.

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Cattoor, 2014, Atlas as design, designing atlases. Two Cartographic Explorations of Implicit Urbanisms in Southwest Flanders’ PhD, KU Leuven.

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Idem, referring to Corner, 1999, p. 213.

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Corboz, A., 2001, Le Territoire Comme Palimpseste et Autres Essais. Paris, Les Editions de L’Imprimeurs, Collection Tranches de Villes (first edition 1983).

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Cattoor, Bieke, 2014, Atlas as design, designing atlases. Two Cartographic Explorations of Implicit Urbanisms in Southwest Flanders’ PhD, KU Leuven.

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Idem.

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Fig. 10.

Based on the jot booklets, made out of the walks and combined with my memories, I made this topographic model map.

The map shows the visual borders I experienced in the city. All the places that are a ‘blank spot’ are cut out, because I couldn’t visit them (as the inner part of a building block) or couldn’t see what was situated behind it (such as the trees that surround the lake). The more you look into the city, the more detailed the memories get, the smaller ‘empty’ spots become. While in the outskirts of the city more general views and memories are left.

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Fig. 11. 'Pop-up' map.

This ‘pop-up’ map is made in this way so I can take the map back to Ypres and check how the views did or did not change over time. The four views that are visible are the views on which I can orientate myself, by looking at the main towers and how I am located opposite them. I imagine that over time the views can change in such a way that nature can continue growing, or new buildings arose, and cover the towers or it can change in the opposite situation and the towers will be more visible because nature decreases. This map helps me understanding and testing the future.

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Fig. 12.

By analysing important elements and places in the city of Ypres; by looking at photography from before the war; after the war and after reconstruction; it is visible in both plan and views how the city has been reconstructed. People’s views and experiences are being framed and limited, while experiencing the city and walking to the main square and buildings.

The changes are visible on both plans, before and after reconstruction (the two plans are overlaid with tracing paper and the main changes are indicated with a brown colour).

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Saturday market

11th of November Veteran's Day

Other days

Fig. 13.

The main square, 'Grote Markt', is surrounded and determined by a decor of facades and the two main towers of Ypres (Belfort and Sint-Maartenskathedraal). I experienced this decor as a good preserved medieval city centre, which is in direct contradiction to the history of the war that ruined everything, what raised questions to me. This decor borders the public square which serves normally as a parking lot, on Saturdays it turns into a market (mainly for inhabitants) and on events (attract tourists) the city bans the cars and tries to turn it into a meeting place.

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Fig. 14.

Only a few pictures that were taken right after the war show the enormous damage in the entire city of Ypres. I made the evolution of the two main monuments, Lakenhalle and Sint-Maartenskathedraal, throughout time visible.

By overlaying the information of the ruins that were left after the bombings, it shows from which ‘stones’ or ‘left overs’ they started again. By looking at the drawings of Coomans I reconstructed how the monuments have been rebuild.

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Fig. 15.

I visualised the only two places in the city where I really felt the ‘past’ or traces of the ‘original situation’.

First, you see the ruins next to the Sint-Maartenskathedraal. Where you can still see some parts of former columns, pillars and walls of this former construction. Second, some original columns are still present in the interior structure of the Lakenhalle. Whereas the other columns are reconstruction in a similar way and as the internal use is using the entire space, it tempt to be not visible enough to notice for every visitor.

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Fig. 16.

Out of my walks and time spend in the city, I noticed that Ypres is determined by view corridors and that the ‘closed facades’ have more and more openings the more you move away from the main square. Little alleys, gates and open spaces appear. In this map I tried to show where in the open space my view is blocked and to which point. The further the dots go, the further I could see. On the picture is then visible how in a seemingly closed building on plan I can still see through a gate, door or small path.

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Fig. 17.

Right in the heart of the city, the main square, the difference between the public and private space is really clear and visible. The closed ‘decor’ facades form the border between the public square and the people living or services behind them. On the ground floor there is a kind of semi-transparency because of the commercial services and bars which are located there. The more you walk to the outskirts of the city, to the ‘vestingen’ (or ramparts) and beyond, the more the city becomes porous. The public and private spaces begin to overflow and the border becomes vague.

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Fig. 18.

As water is one of the main visible and invisible elements, I brought together all different layers of water present in Ypres. As shown, the water that is still visible today, is running around the main city part. While the Ieperlee(t) is running through this part but is invisible. Back in the 16th century they vaulted the Ieperlee(t), which served as the main transportation road for goods to the Cloth Hall, but turned into an open sewer. Because waste water flew in here, as it is located on a lower level then all the other streams. Today they will start to disconnect this waste water from flowing to the Ieperlee(t). Which is also connected to the ‘Wachtbekken’ and ‘Zillebekevijver’, which are used to buffer and produce drinking water.

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Fig. 19.

As visible in all the maps of this Atlas, the three main elements that helped me orientate myself in the city of Ypres, are: water- two towers (monuments)- two main roads (right angles to one another and open out on landmarks). The water felt connected circularly and running around the main city to me. The ‘vestingen’, city walls, that still remain are directly situated on the borders of this water in the South. In the North the canal is located. Left and right, or West and East, the station and the Menenpoort are situated.

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3. PROBLEM STATEMENT

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Fig. 20. Picture of Jacques Deseure, edited by Caroline Versteden.

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PROBLEM STATEMENT 1. After staying in Ypres for one week and analysing the city by interactive journeys, this reconstructed city raised a lot of questions to me. This together with the way it is organised and leading people around in the city.

The key words that describe Ypres for me are: reconstruction - scenery - view corridors9.

These terms are connected to each other, they describe together how I experienced Ypres and form the base of my research outcomes.

2. Out of the research and mapping, by making an Atlas, I created my own focus and way of looking at the city. More specifically how the urban scenery of the city, it’s scenery and view corridor, leads everyone around to specific points and the main city square.

Everything I mapped and experienced shows that the city is porous9, which means that the borders between the public space and private spaces are more and more overflowing the more you move away from the main city square. After the reconstruction of the city, the city architect Coomans reconstructed the monuments and the streets around the square to put lead to this centre.

The main square, ‘de Grote Markt’ and it surroundings, is of an inestimable historical value. The use of this centre is today mostly orientated towards the visitors. While at the same time, the city is moving more and more services for the inhabitants, such as schools and the town hall, to the outskirts of the city.

3. The city of Ypres has a lot of job opportunities, but they are lacking space for this people to live in the city as well. Ypres has completed its Municipal Spatial Structure plan (GRS, Gemeentelijk Ruimtelijk Structuur plan) for the next 20 years. The plan focuses in particular on the 20- to 40-year-olds, a target group to rejuvenate the city and that must be given a place to live and work. Therefore 842 additional residential units are planned for the entire Ypres territory by 204010.

Possible programme can be: housing (private) - collective - public space, all in relation to each other and so they can work together.

4. Out of my mapping I can list following criteria, to take into account on urban and design level: - reconstruction9 - scenery9 - view corridor9 - layering - interrelationship9 - experience9

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Definitions see terminology list, p. 143-146.

Stad Ieper. (6.03.2017). Gemeenteraadszitting van maandag 6 maart 2017. Digital document (published by the city of Ypres, through their website).

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4. RESEARCH QUESTION

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Fig. 21. Layering of the city.

Fig. 22. Layering of a living unit.

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RESEARCH QUESTION Out of the understanding of the urban scenery of Ypres I can translate this scenery and layering of the city into a design concept for living units.

"How can we maintain the unique scenery experience in the city of Ypres, while densifying and providing the needs of the city and its inhabitants?"

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Fig. 23. Personal sketch: first imagination of the layering and scenery of the city into the interior of living space.

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INTERVENTION Research The method I use is narrative research. I base myself on personal and human dimensions of experiences over time and take into account the relationship between individual experience and cultural context.

The need The city of Ypres has a lot of job opportunities, but they are lacking space for this people to live in the city as well. Therefore 842 additional residential units are planned for the entire Ypres territory by 2040. Possible programme: housing (private) - collective - public space, all in relation to each other and so they can work together.

The design I will develop a design to approach the city. So it will be possible to use the same method, frame and principles of the design to make a project on another part of the city.

Criteria: - reconstruction - scenery - view corridor - layering - interrelationship - experience The city of Ypres is built up of different layers with each their own specific character. Within this layers, there are different layers of space to be found: private - collective - public. How these different layers connect to each other and overflow, are an important element on every level, on urban and building design level. The unique experiences and view corridors throughout the city are still maintained thanks to the city of Ypres itself, which made their building regulations to keep it intact. In these regulations the city states that every new building should take over the specific characteristics of that street, to keep the harmony and the viewlines intact11. The city also maintainces an unwritten rule that every new development should stay under six builing levels, so they stay under the nock height of the main monuments. This to preserve the view on the monuments from every point of the city.

Updated criteria, determined by myself: - no building higher than six building levels (under nock height of churches) - think global act local12 - local materials if possible - integrate different groups of people of all ages - time, what will happen with the design over time? other uses possible?

- private - collective - public zones12 - a sequence of experiences following upon each other, just like in the city12 11

Stad Ieper. (6.12.2006). Gemeentelijke stedenbouwkundige verordening ter vrijwaring van het woonklimaat en het waardevol bouwkundig erfgoed.

Digital document (given by the city of Ypres).

12 Definitions see terminology list, p. 143-146.

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5. CONTEXTUALIZATION

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REFERENCE CASE 1: DENSIFICATION - 'De Meersen - De Looie in Ypres' Situation The site is located in the city centre on the outskirts of the commercial axis 'De Steurstraat - Boterstraat - Grote Markt', on the border of the tourist centre of Grote Markt, Lakenhallen, St-Martinuskerk and Menenpoort, and at the same time in a pleasant residential area.

Open space The design builds upon the clear area and edges of this site, which is defined by the historic coaster of the former Sint-Jan-ten-Berge abbey.

Remark This is a city infill project and tries to density in the main city centre and meets therefor one of the big challenges in the growing and densifying cities today.

Quality of public space The design consists of a combination of open space, green structures, and also new buildings.

The building part of the project is particularly compact designed, to be able to set up more than 35% of the overall ground surface as public and semi-public domain. This excludes the gardens of the dwellings. The hedges around private gardens, together with the buildings, form together the clear edges of public space.

Remark With this 35% they meet the requirement of the town of Ypres to transfer at least 30% of the area of the public domain to the city. This public domain is after a certain hour closed, so people are not able to make use of the public space anymore, only when there are a tenant or owner, which is a bit contradictory.

This hard borders can work, but it can be a challenge as well to find a way to make a gradual transition between public, private and collective spaces.

Building volumes The scale of the buildings respects the surrounding buildings and therefore does not goes over a total of 6 storeys, 3 layers as base and at some points 3 layers on top.

Remark These heights respect the view on the surrounding city centre and monuments, because this total height of 6 layers stays under the height of the nock of the churches and monuments.

Accessibility The site can only be accessed by pedestrians and cyclists. With the exception of sporadic access for fire service, maintenance and removal. In total, there will be 130 parking spaces provided for 80 dwellings. They later increased the number of housing units from 80 to 103 dwellings, of which 21 will be social housing.

Remark The night when the project was shown to the public there were about 100 interested people present: mainly local people who worry about what the future traffic. Even residents who wonder about the three apartments on six floors high. Questions were also raised about the possible integration of the former St. Nicholas Church, which is currently for sale. The private partners of the project and the Meersen-the Looie interested to integrate the church, but a purchase is not yet come. Reportedly, the asked price is too high.

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Fig. 24. Situation in Ypres from google maps.

private dwellings private dwellings - terraces/gardens collective space - intermediate area for common use and facilities public space

- streets and inner terrain

Fig. 25. Ground plan project 'De Meersen - De Looie' in Ypres. 13 13

The origional images are taken from the design file of 'Herontwikkeling van de site ‘De Meersen - De Looie’ - Robbrecht en Daem Architecten in collaboration with 3D Real Estate and are used to add the different zones.

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REFERENCE CASE 2: LAYERING, EXPERIENCE - 'Caminada and Zumthor' G. A. CAMINADA - Girls School An architectural competition was set up for a new boarding school in Disentis, which Caminada won and completed his project in 2004. The result was not a strictly educational establishment, but rather a kind of 'hotel for learning' for girls between 14 and 18 years old. At first, they inhabit the lower floors and gradually move upwards after time. In the architect’s view the girls literally have to 'work their way up' in the hierarchy.

The stair demands particular attention and becomes a furniture that brings all different layers of the environment and society together. The used material concrete, mixed in certain proportions and subjected to particular processes, can mutate from an extremely conventional building material into a thoroughly noble element. In the Caminada’s building the stair is made by cubes stocked one upon the other, Gion Caminada developed a three-dimensional shape, into which he cut both cavities and horizontal or oblique indentations that connect the cubes.

Fig. 26. Girls school by G. A. Caminada.

P. ZUMTHOR - Allmannajuvet Zinc Mine Museum in Sauda, Norway The three-building campus calls upon the aesthetics of the country's abandoned zinc mines from the 1800s, evoking the toilsome labour of the workers in its rough stone and exposed joint work. The museum is situated on one of Norway's National Tourist Routes and was commissioned by the state as part of an effort to increase tourism in the region.

The buildings are poised in and above the landscape, providing views of the natural gorge that unfold as visitors move through Zumthor's dark, shaft like interiors and evoke all the different layers and experiences.

Fig. 27. Allmannajuvet Zinc Mine Museum by Peter Zumthor.

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REFERENCE CASE 3: COLLECTIVE LIVING - 'Roman Insula' ROMAN INSULA On this illustration the daily life around a Roman insula is represented. Roman apartment buildings contained vendors (salesman) on the first floor and living quarters on the floors above. The apartments in the insula lacked most basic amenities, such as kitchens and bathrooms. As a result, Romans lived a highly communal lifestyle. This is a great inspiration to explore a new way of living together, by actually looking back at how we used to live in the cities centuries and decades ago.

Fig. 28. Roman Insula.

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REFERENCE CASE 4: Le Corbusier - Promenade architecturale Charles-Édouard Jeanneret, known as Le Corbusier (1887 - 1965), was a Swiss-French architect, designer, painter, urban planner, writer, and one of the pioneers of what is now called modern architecture. The architectural promenade was a key idea behind the development of space and movement in much of Le Corbusier's work.

The 'promenade architecturale' appears for the first time in Le Corbusier's description of the Villa Savoye at Poissy (1928) where it displaces the term 'circulation', often used in his early work. As described in Oeuvre Complète Volume 2 (1929-34) by Le Corbusier, "In this house occurs a veritable promenade architecturale, offering aspects constantly varied, unexpected and sometimes astonishing."

The promenade refers to the experience of walking through a building. Taken at a deeper level, it refers to the complex web of ideas that underpins his work, most specifically his belief in architecture as a form of initiation.

Le Corbusier's promenade architectural references to the sequence of spaces and direction of movement in the Acropolis in Athens. The English picturesque garden is also based on the specific construction of a promenade with 'constructed' views, vistas and experiences.

Each promenade should unfold from an understanding of the site and idea that the building is built around. The promenade begins outside, in the cityscape and continues inside and through, terminating (as it often does) in a roof garden.

Fig. 29. Villa Savoye 1929, Le Corbusier, du jardin supérieur on monte au toit.

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A. Choisy - Acropolis in Athens Auguste Choisy (1841-1909) was a French architectural historian and author of Histoire de l'Architecture.

According to A. Choisy, 'angle views are those which the ancients generally seek to spare: a corner view is more picturesque, a more majestic view of the face: to each its role: the angle view is the rule, The front view an exception always motivated. Whether it was a matter of bringing out a statue, or even a temple, we know what resources they found in deviating from the axes to fix eyes and direct attention.' 14 In his The history of architecture, A. Choisy speaks of a reading of the acropolis approach arranged around the succession of four key images at human height. The presence of these four sequences structure the overall image of the place.

Fig. 30. Acropolis in Athens.

Le Corbusier is in no doubt influenced by Choisy's analysis of the Acropolis, and insists on the intensity of the volumes born of misalignments:

"A view which shows the Parthenon, the Erechtheum, and the statue of Athena in front of the

Propylea. It should not be forgotten that the site of acropolis is very up and down, with

considerable variations in level which have been used to furnish imposing bases or plinths to

buildings. The whole thing, being out of square, provides richly varied vistas of a subtle kind;

the different masses of the buildings, being asymmetrically arranged, create an intense rhythm.

The whole composition is massive, elastic, living, terribly sharp, keen and dominating.” 15 For Le Corbusier, the view of the Acropolis expresses the “flexibility of Greek ‘axial’ planning” in which the asymmetry in the plan is appropriated by the perspectival framing on ground by the viewer. He also notes that the dialogue between plan and perspective at the Acropolis “permitted a return to the ‘original’ bodily and sensational sources of the plan.” This dialogue can be seen as one of the key influences for Le Corbusier’s ‘architectural promenade’ which dealt with the issue of a peripatetic viewpoint of the mobile spectator instead of a single, fixed point of reference.

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15

Auguste Choisy. (1899). Histoire de l'Architecture (The history of architecture). Paris (France) : Gauthier-Villars, Imprimeur - libraire.

Le Corbusier. (1986). Towards a new architecure. London (UK) : John Rodker.

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REFERENCE CASE 5: Le Corbusier - The framed view Doors and windows are key elements in the perception of architectural space and consequently both a fact of life and a stereotype of visual perception and imagination.

As to Le Corbusier, the framed view as a way of articulating interior and exterior presides over architectural as well pictorial space, including also the space of imagination. Often, the view from a house is framed as a landscape painter would frame it, according to Le Corbusier, playing with the veduta (a very detailed painting) as an element of surprise to be meted out in small doses.

In Une petite maison, a booklet on the house built 1923 for his parents on Lake Geneva (published in 1956), Le Corbusier insists that even the most beautiful of landspaces becomes boring when it is always present:

"Have you noticed that under such conditions one no longer looks at it? To make the landscape

interesting, one must take the radical desicion to limit it, to give it certain dimensions; to

occlude the horizon by raising the walls, and to reveal it through gaps at strategc points. We

made a square hole in the south wall, in the interest of proportion. Suddenly the wall stops and

the view appears; light, space, this water and these mountains. Now we have it!"

In numerous of Le Corbusier's paintings, the open door (perhaps a window?), serves as an essential element of spatial and poetic dramatization effect:

"The rooms facing the view have been walled up, and a door had been put in, opening onto

a terrace from which the scenery bursts in like an explosion." 16

Fig. 31. View from the roof garden, House for Madame M., opposite the Parc de la Folie Saint-James, Paris, 1927.

16

When talking about Madame de Mandrot's house near Toulom (1930-31) in Le corbusier: Elements of a synthesis by Stanislaus von Moos.

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'The key to the problem of modern habitation' is according to Le Corbusier, 'to inhabit first', 'placing oneself afterwards'. ('Habiter d'abord. Venir se placer ensuite.') The three factors that determine the plan of the house are 'the lake, the magnificent frontal view, the south, equally frontal', and are precisely the factors that determine a photograph. In this context, 'to inhabit' means to inhabit that picture. 'Architecture is made in the head, and then drawn.' Only then does one look for the site, but the site is only where the landscape is 'taken', framed by a mobile lens. The house is drawn with a picture already in mind. The house is drawn as a frame for that picture.

"The object of the wall seen here is to block off the view to the north and east, partly to the south, and to the west; for the ever-present and overpowering scenery on all sides has a tiring effect in the long run. The view must be blocked by walls which are only pierced at certain strategic points and there permit an unhindered view."

- Adolf Loos and Le Corbusier, edited by Max Risselada. Raumplan Versus Plan Libre, 2008, p.47.

On a dĂŠcouvert le terrain, Une petite maison, 1954.

Rio de Janeiro. The view is constructed at the same time as the house, La Maison de Hommes, 1942.

Le Plan est installĂŠ, Une petite maison, 1954.

Fig. 32. View and plan of 'une petite maison'.

Fig. 33. View and interior of 'la maison de Hommes'.

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REFERENCE CASE 6: Adolf Loos - About The House Loos is saying that the house must not be conceived of as a work of art, that there is a difference between a house and a 'series of decorated rooms'. The house is the stage for the theatre of the family, a place where people are born, live and die. Whereas a work of art, a painting, presents itself to critical attention as an object, the house is received as an environment, as a stage.

Loos breaks down the condition of the house as an object by radically convoluting the relation between inside and outside. Mirrors are one of the devices he uses. Even more important is the placement of it. In the dining room of the Steiner house (Vienna, 1910), a mirror is placed just beneath an opaque window (see Fig. 34). Here, the window is only a source of light. The mirror, which is placed at eye level, returns the gaze to the interior.

Loos's mirrors promote the interplay between reality and illusion, the actual and the virtual, breaking down the status of the boundary between the inside and outside.

Fig. 34. View of the dining room showing the mirror beneath the window. Steiner House, Vienna, 1910.

Loos's strategy of physical separation and visual connection, of 'framing', is present in many of Loos interiors. Openings are often screened by curtains, enhancing the stage like effect. It is usually the dining room which acts as the stage, and the music as the space for spectators. What is being framed is the traditional frame of everyday life. In the house the entertainment consists of looking.

But between the gaze and its object - the body - is a screen of glass and water, which renders the body inaccessible.

The spaces of Loos's interiors cover the occupants as clothes over the body, and each occasion as its appropriate 'fit'. But spaces in Loos's architecture is not just felt. Loos refers to the inhabitant as a spectator, for his definition of architecture is that of a theoretical architecture. The inhabitant becomes both 'covered' by the space and 'detached' from it. The tension between sensation of comfort and comfort as control disrupts the role of the house as a traditional form of representation. The subject of Loos's architecture is the metropolitan individual, immersed in the abstract relationships of the city, to assert the independence and individuality of this existence against the levelling power of society.

In the Raumplan, Loos constructs a space, without having completed the working drawings, then allows himself to be manipulated by this construction. He is not simply an author, but the object has as much authority over him as he has over the object. He is controlled and constructed by his own work.

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REFERENCE CASE 7: Victor Horta - House Studio Victor Horta is the most important exponent of Art Nouveau in Belgium, the architectural and artistic movement that followed Neoclassicism and spread over Europe in the late nineteenth and early twentieth centuries. Among his works, his House Studio is known for the quality of its conceptual space and the skilfulness of its details. UNESCO, in declaring this building as a World Heritage Site, stated that "the stylistic revolution represented by these works is characterized by their open plan, the diffusion of light, and the brilliant joining of the curved lines of decoration with the structure of the building".

INTERIOR The interior of the house studio has been modified several times and it reflects the architect's life, including his divorce and his professional needs. In 1919 Horta separated the two buildings and sold them to different people. The house and studio are divided into 5 levels: a basement (-1), a ground floor (0), the piano (or second level from the street, 1), the first and second floors (or third and fourth levels from the street, 2 + 3) (see Fig. 35). These levels extend with their mezzanines (or semi-levels) around the central staircase. Overall the house is much brighter and has warmer colours than other contemporary houses.

STAIRCASE The staircase is crowned by a spectacular glazed skylight, in a semi-vault form. The generous stairwell that widens from the bottom up, of a light and transparent design, allows visual communication between all levels of the house, and also provides a cosy space for its inhabitants.

Fig. 35. Section of Horta's House (left) and Studio (right) edited by Caroline Versteden.

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REFERENCE CASE 8: Jan Pieper - Haptic experience of urban space through body movement “Four elementary forms of movement in urban space: In context of urban architecture the term ‘haptic’ denotes those spatial qualities which are experienced not only by looking at the settlement structure, but by moving in and around it. All haptic experiences of urban space, therefore, relate to movements in urban space, and these may be reduced to four types, depending on how they relate to an object or a system of reference: there are movements towards (or into, through and across), and movements beside a spatial entity. The sequence of spatial constellations, the relationships between solids and voids along the direction in which the observer – or rather the flaneur – proceeds, presents in its totality an experience which evokes a sense of the “spirit of the place” and which decides our aesthetic judgment in architectural terms.”

- J.Pieper, 1980 Jan Pieper is a German architectural anthropologist and formulated four elementary forms of movements in urban space, which are: towards - into - through - across; around; away from - out of; beside - juxtaposition.

In his writings in the book Ritual Space in India: Studies in Architectural Anthropology (1980), he explains this movements and emphasizes the importance of experience by walking in and around a specific area and determines the spatial quality of it.

In the case of Ypres I used this method to analyse the main city centre, more specific the area in, around and inbetween the 'Sint-Maartenskathedraal' and the 'Lakenhalle'. The city has been reconstructed in a way that the main focus and orientation is based on this area. In my narrative research it is clear that this orientation is still existing today, but is leading to a centre that is not actively used anymore.

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BAN RIENCES COF EXPERIENCES URBAN SPACE OF SPACE URBAN OF URBAN SPACE SPACE UGH ODY MANHUMAN BODY BODY ms ovement elementary aryofforms movement inof urban forms movement inof urban movement in urbanin urban ext ban hitecture In context ofarchitecture urban the ofarchitecture term urban the ‘haptic’ architecture termthe ‘haptic’ termthe ‘haptic’ term ‘haptic’ es qualities sspatial which those qualities are spatial which experienced are qualities which experienced are which experienced are experienced oking ly the lement bysettlement looking at structure, the settlement atstructure, thebut settlement structure, but structure, but but and ving llndhaptic it. around inAll and experiences haptic around it. Allexperiences haptic it. Allexperiences haptic experiences TOWARDS TOWARDS TOWARDS TOWARDS an ate e, ore, therefore, space, torelate movements therefore, torelate movements torelate movements to movements AWAY FROM AWAY FROM BESIDE BESIDE BESIDE BESIDE AWAY FROM AWAY FROM INTO INTO INTO INTO AROUND AROUND AROUNDAROUND an e, yese be and space, may reduced these be andreduced may to these four be may reduced to four be reduced to four to four JUXTAPOSITION JUXTAPOSITION JUXTAPOSITION JUXTAPOSITION OUT OFOUT OF OUT OFOUT OF THROUGH THROUGH THROUGH THROUGH ow ing depending relate they on how torelate an on they object how torelate anthey or object torelate anorobject to anor object or ACROSSACROSS ACROSSACROSS ference: re m there movements of reference: arethere movements are towards there movements are towards movements towardstowards 1 Adjusted 1 Adjusted 1 Adjusted 1 Adjusted 1 Grote 1 Markt 1 Markt 1 Markt 1 Towards 1 Towards 1 Towards 1 Towards 1 Astrid 1 Park 1 Park street bystreet reconstruction by reconstruction after WWl after WWl Grote street by reconstruction street after by WWl reconstruction after Grote WWl Grote Markt Rijselpoort Rijselpoort Rijselpoort Rijselpoort Astrid1 Park Astrid Astrid Park across), o, gh and through and movements across), andand movements across), and beside movements and beside movements beside beside y.al entity. al ellations, quence ofconstellations, spatial ofthe constellations, spatialthe constellations, the the and between nships solids voids and between solids along voids and the solids along voids and the along voidsthe along the hich on observer r –inor the which rather observer – or the the rather observer flaneur – orthe rather flaneur – orthe rather flaneur the flaneur nality eeds, esents its totality an presents inexperience its an totality in experience its totality an experience an experience of spirit aevokes sense theof “spirit aof the sense the place” of“spirit the of the and place” of“spirit theand place” of theand place” and thetic decides dgment our aesthetic judgment our in architectural aesthetic judgment in architectural judgment in architectural in architectural ” r, 1980 ‘Astrid Park’ ‘Astrid is the Park’ former ‘Astrid is thePark’ garden former ‘Astrid is the ofgarden Park’ the former former is of thegarden the former Episcopal former ofgarden the Episcopal former of theEpiscopal former Episcopal Palace. Palace. Palace. Palace.

The Lakenhalle The Lakenhalle was formerly The Lakenhalle wasused formerly TheasLakenhalle was a trading used formerly aswas place a trading used formerly foras cloth place a trading used and for as cloth place a trading and for cloth placeand for cloth and was completely was completely destroyed was completely destroyed afterwas the completely war. after destroyed The thereconstruction war. destroyed after The the reconstruction war. after was The thereconstruction war.was The reconstruction was was completedcompleted in 1967 and completed in 1967 must have and completed inmust 1967 beenhave and theinpre-war been must 1967 have the and situtation, pre-war must beenhave the situtation, pre-war been thesitutation, pre-war situtation, with adaptions with adaptions by thewith cityby adaptions architect. thewith city adaptions by architect.

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2 the 2 the 2 Inside 2 the ‘Lakenhalle’ (cloth Inside hall) the ‘Lakenhalle’ (cloth Inside Inside ‘Lakenhalle’ ‘Lakenhalle’ (cloth hall) (cloth hall) 2 Vandenpeereboomplein 2 Vandenpeereboomplein 2 hall) 2 Vandenpeereboomplein Vandenpeereboomplein

2 Meersstraat 2 Towards 2 Towards 2 Meersstraat Towards Korte Meersstraat 2 Kloosterpoort Korte Towards Korte Korte Meersstraat 2 Kloosterpoort 2 Kloosterpoort 2 Kloosterpoort

The original The‘Kloosterpoort’ original The‘Kloosterpoort’ original The dates ‘Kloosterpoort’ original from dates about ‘Kloosterpoort’ from 1500. dates about from 1500. dates about from 1500. about 1500.

The Lakenhalle The Lakenhalle was formerly The Lakenhalle wasused formerly TheasLakenhalle was a trading used formerly aswas place a trading used formerly foras cloth place a trading used and for as cloth place a trading and for cloth placeand for cloth and was completely was completely destroyed was completely destroyed afterwas the completely war. after destroyed The thereconstruction war. destroyed after The the reconstruction war. after was The thereconstruction war.was The reconstruction was was completedcompleted in 1967 and completed in 1967 must have and completed inmust 1967 beenhave and theinpre-war been must 1967 have the and situtation, pre-war must beenhave the situtation, pre-war been thesitutation, pre-war situtation, with adaptions with adaptions by thewith cityby adaptions architect. thewith city adaptions by architect.

Itisthe today cityby open Itis architect. the today for citypublic open architect.

Itis today for public open Itis today for public open for public and facilitates and facilitates the ‘Flanders andthe facilitates Field ‘Flanders and Museum’ the facilitates Field ‘Flanders Museum’ and thestudy Field ‘Flanders and centre.

Museum’ study Fieldcentre. and Museum’ study and centre. study centre.

3 corridor 3 corridor 3 Public 3 corridor Public to the Lakenhalle Public to cross thecross Lakenhalle to cross Public the Lakenhalle corridor to cross the 3Lakenhalle 3 Janseniusstraat 3 Janseniusstraat 3 Janseniusstraat 3onside) 3 side) 3 Towards 3 Towards (Astrid Park on north (Astrid Park north Janseniusstraat (Astrid Park (Astrid onPark north onside) north side) Astridpark Towards Astridpark Towards Astridpark Astridpark

From the long Fromfront the long building From front the ofbuilding long the From ‘Lakenhalle’ front the of long building the ‘Lakenhalle’ front rices ofbuilding the in the ‘Lakenhalle’ rices middle, of the in the ‘Lakenhalle’ rices middle, in therices middle, in the middle, ‘het Belfort’ ‘het(70m).

Belfort’ At‘het (70m). theBelfort’ bottem At‘het the (70m). ofBelfort’ bottem thisAt tower, the (70m). of this bottem anAt tower, opening the of bottem this anarises opening tower, of this an arises opening tower, anarises opening arises to cross this to building cross this toand building cross move this to and from building cross move one this square from and building move one to square the and from other. move one to the Nasquare from other. one toNathe square other. to the Na- other. Namely, frommely, the main frommely, square, the main from demely, square, the ‘Grote main from de Markt’, square, the ‘Grote main toMarkt’, de the square, ‘Grote ‘Sint-Maarto the de Markt’, ‘Grote ‘Sint-Maarto Markt’, the ‘Sint-Maarto the ‘Sint-Maartensplein’,tensplein’, a similar passageway atensplein’, similar passageway tensplein’, aissimilar to be found passageway aissimilar to on be the found passageway isright toonbe side. the found is right toon be side. the found right onside. the right side.

4 inbetween 4 Space 4 main Space4 inbetween Space inbetween themonuments main the monuments main monuments the Space inbetween the main monuments 4 Diksmuidestraat 4 Diksmuidestraat 4 Diksmuidestraat 4 Diksmuidestraat

3 Stadsschouwburg 3 Stadsschouwburg 3 Stadsschouwburg 3 Stadsschouwburg (City Theater) (City Theater) (City Theater) (City Theater)

The ‘Stadsschouwburg’ The ‘Stadsschouwburg’ The ‘Stadsschouwburg’ was The completely ‘Stadsschouwburg’ was completely destroyed was completely destroyed during was completely destroyed during destroyed during during World War World I andWar inWorld the I and thirties War in World the I rebuilt and thirties War in in the Irebuilt an and thirties other in in thean way. rebuilt thirties otherinway. rebuilt an other in way. an other way.

4 Towards 4 Towards 4 Gerechtsgebouw 4 Gerechtsgebouw 4 Gerechtsgebouw Towards the ‘Menenpoort’ 4 Gerechtsgebouw the4‘Menenpoort’ (Courthouse) Towards the 4‘Menenpoort’ the ‘Menenpoort’ (Courthouse) (Courthouse) (Courthouse)

The first plans The first for plans the Thenew first for courthouse, the plans Thenew first forcourthouse, plans thedesigned new for courthouse, thedesigned by new thecourthouse, by designed the designed by the by the architect architect Jules Coomans Jules architect Coomans Ypres architect Jules town, Coomans Ypres clearly Jules town, Coomans Ypres different clearly town, Ypres different from clearly town, from different clearly from different from the finallythe completed finallythe completed building. finallythe completed building. finally completed building. building.

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Fig. 36. Haptic movements of Pieper applied to Ypres, personal sketches.

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Fig. 37. Framed view from inside the wooden cabine along the Zillebekevijver on the towers of Ypres.

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CONTEXTUALIZATION Through the analyses of the previous case studies I tried to position myself in the field of architecture.

I developed a field of interest, namely the urban scenery of the city of Ypres, which is formed by framing specific views and the view corridors of the streets. By looking at these cases, I tried to understand how other architects and specific cases translate or articulate this same elements in architecture. These outcomes and findings will help me in the development of my own design strategy.

CONCLUSIONS out of the reference cases 1. Interior life is framed by a view - facade - outside world (see: Le corbusier).

Le corbusier states that a house or building is built upon a view that has been framed at first in a landscape. When looking at Ypres, this method was used by the city architect as well after the reconstruction. He adapted the angle of certain streets, such as the Rijselstraat, to have a perfect view on the two main monuments. The tower of the Sint-Maartenskathedraal has also changed after reconstruction, to have this perfect view in perspective on the two towers, which seem to have the same height.

2. Within the interior, different views can be created and can be accessed or not (see: Adolf Loos).

When looking at Ypres, there are places where the views are created on the towers of Ypres or on the porches in the city for example, where they seem close and reachable, but they are actually far away and when moving towards them the view changes. The biggest example can be found in a small wooden cabine that stands along the 'Zillebekevijver', where the view on all the towers appears as a perfect painting (see Fig.37).

3. The outside can be seen from the inside, but not the other way around (see: reflection on the right places window in the sunlight, cubes of Adolf Loos). This relates to the small balconies that appear in the facades, mostly in the historical centre. When standing in these spaces, you can have an overview on the street and beyond, but because of the height and the fences around, the people on the street itself will not be able to see you.

4. 'Voids' between building blocks or element, can become an actively used in between space (see: Roman insula). Ypres consists of a network of alleys, small roads running inbetween building blocks connecting one street to another. These spaces have really interesting characteristics, because they have a different scale, are smaller, less light and signs from the adjacent buildings that pop up. Except from making the connection from one place to another they have a lot of potentional to also work as a connection between the adjacent buildings.

5. The stair can serve as a connecting element between all the different floors in a building and can function as a light source (see: Horta). In Ypres the 'vestingen' or ramparts are a connecting element in the landscape. When you are walking over them, you feel at some points connection to the whole city, when you have a view on the city centre and the outskirts. And at some points you feel completely into nature, where you can only see and feel the trees and surroundings. It does not only works as a visual connection element but also as a buffer zone, between these two contrairy zones in the city.

6. The way you approach the building, how you walk to it, access it, walk through, determine the experience of the building and its environment (see: Acropolis and Jan Pieper). This was one of the key elements during the reconstruction after the first world war. The way you walked to the centre, around, in and through the main monuments was all very thought through and is still visible today.

Until today, the view has to be preserved on the monuments, from every point in the city.

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60

RESEARCH METHODOLOGY 6. URBAN STRATEGY

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URBAN STRATEGY ON YPRES In order to understand the city of Ypres's diverse and unique character, we looked in a group of three at the different types of open and building spaces that are present.

In two model maps we worked with three different colors to represent: the private space (grey), the collective space (brown) and the public space (white). To understand the relation of all the different spaces, open and building, to each other and how the borders work inbetween these different types of spaces and buildings (see Fig. 38 and 39).

The first model represents 'The open spaces' (Fig. 38), where we defined all the 'non-building spaces' in the city by their specific character. It became visible that a lot of the building blocks have inner spaces that are in use, mostly as private (parking, garden), than collective (for that building block) and sometimes public use (parking).

The second model represents 'The build environment' (Fig. 39), where we defined all the 'building spaces' in the city by their specific character. Out of this analysis we discovered on one hand that mainly the buildings around the main streets have a dual charachter, with commercial (collective) spaces on the ground floor, and living spaces (private) on the upper floor.

On the other hand we developed a better understanding of the changes in functions through the time which relates to a change of character as well. For example, an old abbey (collective) that is being transformed into appartments (private) today. Or the youth centre (collective) that moved away and the building became private, but today they decided to change it again to a common function.

Out of this study I will select a part of the city which has the most diverse elements captured in one section. This choice and diversity are based on all the different private, collective and public spaces that are present there, as well as the history of the streets, places and the experiences I had when walking through these specific areas.

On this section I must be able to project my focus. I will analyse the different view corridors that are present, the density towards the main centre that fades away when going more to the outskirts, and the scenery of Ypres focused towards the centre and the opposite directions.

This is all done to get to a complete understanding of Ypres and his scenery, to come to a strategy that can be used towards every section in this city.

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THE BUILD ENVIRONMENT Scale 1/4000

LEGEND public private collective Fig. 38. THE BUILD ENVIRONMENT - model map.

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THE OPEN SPACES Scale 1/4000

LEGEND public private collective Fig. 39. THE OPEN SPACES - model map.

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7. DEFINING THE SITE

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SECTION THROUGH THE CITY - defining the site I am intrigued by buildings, landscapes, objects and the relationship between them.

Interested by the transformative processes of time and history, I discovered evidences and remains that show how the past lives on in Ypres. This most of the time in a too much 'preserved' or 'reconstructed' way, but it shows that we are constantly rewriting and rebuilding our environment with the history and future in mind. “One need only to look at the layers of the city that archaeologists show us:

they appear as a primordial and eternal fabric of life, an immutable pattern.�

- Rossi, Aldo. The Architecture of the City. Cambridge Mass: The MIT Press, 1984, p. 22.

Out of research it is clear that my interest focusses on the different layers, how they connect, and the experiences that come with them in the city.

Therefore I made some sections through all these different layers, based on my experiences during the walks through Ypres. All these sections come back or start in the main square, with the two towers, and end in the outskirts of the city.

Out of the ruban analysis (see p.63-65), I made some sections through all this different layers, based on my experiences during the walks through Ypres. All these sections come back or start in the main square, with the two towers, and end in the outskirts of the city.

Out of these sections I choose one, number A, to further explore and analyse. This section has the most and different atmospheres, elements and experiences. Such as the historical value, the presence of the Ieperlee, the reconstructed city centre, the former workers' houses, the outskirts and the nature elements such as the 'vestingen' or ramparts and the 'wachtbekken' (see p.70-75).

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Fig. 40. Morphology sections through Ypres.

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1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

Fig. 41. Section model.

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MAIN SECTION THROUGH THE CITY - model based on section 'A' 1. Astrid park or openbaar hof This is the former garden of the former Episcopal Palace.

2. Former Gerechtshof and Gerechthofsplein 3. Stadsschouwburg and Kloosterpoort The original Kloosterpoort dates from about 1500.

The city theatre was destroyed during World War I and has been rebuilt in the 1930s in another way.

4. Grote markt With the Lakenhalle (Belfort tower) and Sint-Maartenskathedraal, where the main square is surrounded by this scenery of reconstructed architecture.

5. Courthouse The first plans for the new courthouse, designed by the city architect Jules Coomans, are clearly different from the finally completed building.

6. Rijselstraat One of the main streets leading to the main square, which after reconstruction was adapted to create the best view on the towers.

7. Vismarkt After the vault of Ieperlee here in 1714, the 'Vismarkt' (fish market) was built.

The Vispoort or Neptunuspoort: is the monumental gate with a bas-relief made by the sculptor Louis Ramaut.

8. Ieperlee(t) traject Because open streams in the city did not promote hygiene, the city decided to vault the 'Iepertje' in 1686.

9. Vestingen Their story began ten centuries ago, when the city began at the Ieperlee. Ditches and earthen walls protected the citizens of the prosperous city. The city fortifications reached a first peak around 1390 with high walls and strong towers. Around 1680 the famous French engineer Vauban rebuilt the fortress into a huge complex of fortifications and bastions.

10. Coloured houses in a row These coloured houses are a recognizable element for inhabitants and visitors while entering the city.

11. Big commercial spaces The big commercial spaces moved to the outskirts of the city, so people can go and shop there by car, whereas the little shops in the city centre sell not everyday goods but more exclusive gadgets and souvenirs.

12. Wachtbekken or Verdronken weide and Zillebekevijver The Verdronken weide was first an impenetrable swamp area where many streams flowed in together, which formed the Ieperlee. From 1992, it was appointed as holding basins where the excess water could rest before it flew into the 'Ijzer' and the sea. Zillebekevijver is 26 ha large and has the function of water production.

13. New housing developments Housing projects (villa’s) are currently being developed around this green area outside the centre of Ypres.

14. Train rails The train system was one of the first infrastructures that was rebuilt directly after the First World War.

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private housing private inner space public space

- unaccessible inner area by the street (wall or door blocks entering) - looks accessible by the street, but is only for the private owners - streets, alleys, main square

buildings with public character - monuments buildings with public character - commercial activities

Fig. 42. Section model.

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public space

- unaccessible nature and water zone

collective space

- accessible vestingen and parks by the public

MAIN SECTION THROUGH THE CITY - private / collective / public I analysed this section not only by defining the different layers that are present in the city, but also by defining the space by categorizing them as: private, collective or public space.

Based on the larger study of the urban strategy (see p.63-65).

These terms are widely used today and have different definitions and interpretations. I had a limited understand of this terms, before I did this analysis, so it was useful to not only categorize the different areas but also build up a better understanding of this terminology. The borders between these different spaces are not always clearly visible and understandable, but rather blurry. They can be on the contrairy really clearly visible in the main cantre, as hard borders between the public and private space. When I sometimes walked on the street and followed certain directions I suddenly ended up in a more collective inner building area, where I felt like a visitor of the space that belonged to the inhabitants around. The opposite situation also appeared, when I was walking in a strict private zone where carparking spaces and garages were located and only when walking out of this area I saw the signs that only owners can enter.

Rather than existing in a binary opposition, public and private spaces operate at a variety of scales that overlap and intersect, creating a mosaic of spaces and degrees of access. Rarely is a space either public or private, but is instead multi-layered and often disputed physically.

As stated by Mark Kingwell in “The Prison of ‘Public Space’” (2008), the terms cover a wide definition and here he points out the key differences at the same time: "Public and private are social constructs that conceptualize different domains of

everyday life— from the interiority and privacy of our bodies and homes to the publicness of city streets and public space. In common usage it refers to the degree of access granted to “outsiders,” however outsiders are defined. But despite digital privacy agreements and no-trespassing signs, the boundaries between public and private are often ill-defined and contested."

Out of the literature and analysis I did, I formulated the following definitions (see p.143-146 for complete definition): Private space The one who privatizes space has acquired this space, bought it or has inherited it and confiscated or occupied it. He is protected by laws, habits and exercises control over his private space.

Collective space It is important to note that public means everyone has a shared interest in spaces. In this way, public relates to the concept of the common, namely resources that are available to all members of a society.

Collective space is the area available for common use by all tenants, (or) groups of tenants and their invitees.

Public space The public space is provided in the city as a place of public gathering, structured according to the rules and regulations of that state/city. This area guarantees equal access for all people of different ages, race or culture, people with very different needs, because they are all in search for the same public space and are able to meet here. The street is far less public than one would think at first sight, because the street separates various flows of traffic and avoids conflict between them. This means you need to have a car to be allowed on one part of the street, or a bike to be allowed on another part of the street.

Likewise, the square is a public space in limited terms, because the pub owner or shopkeeper appropriates this space and can install his terrace or his goods on this public area.

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76

8. REVERSING THE SCENERY

77

Fig. 43. Catalogue: views in 'Rijselstraat' (north east, left, and 180° in south west direction, right) .

Fig. 44. Catalogue: views in 'Korte Torhoutstraat' (south west, left, and 180° in north east direction, right).

78

REVERSING THE SCENERY Until now I have been analysing the scenery of Ypres, with the view corridors leading towards the main city centre. But it is crucial to relate to the orientation of the city in the completely opposite direction as well.

The streets are, in general, an important element that determine how people walk in certain directions. In the case of Ypres, the streets run to the main city centre and provide in this direction really specfic views, such as on the two main monuments. In the opposite direction, they also lead us to specific elements, places and areas around the city, such as the Rijselpoort, the 'vestingen' or ramparts, the Menenpoort, the new developments in the outskirts of the city and nature (Zaalhof or Wachtbekken and beyond) (see Fig. 44).

Catalogue: views in Ypres scenery (see Fig. 42, 43 and 44) In this catalogue I documented views based on the streets which are incorporated in the 'main section through the city' (see p.73). The views are documented in a way to show all the different layers that determine each view.

Each view is split up in 3 main layers that I distinguish from each other, from the closest physical elements to the end point. In each view I higlighted the main element that is been focused on in that view, by using water color. These views are determined by the angle of the street, the facades and its direction towards this final building, tree or monument.

79

Fig. 45. Catalogue: views in Ypres scenery.

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81

82

THE DESIGN 9. URBAN STRATEGY RULES

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84

URBAN STRATEGY RULES Out of the narrative research I did, I am able to understand the whole interior world of the city of Ypres. How all the different layers work on the level of the city and the streets. How borders and facades lead us around and frame our views and direct us to certain points in the city. I experienced mainly three different sceneries in three different parts of the city and decided to explore what exists behind these sceneries. By looking at these different typologies, which are also real examples of the houses in these parts of Ypres, I will give a new answers to these typologies (see Fig. 47, type 2-4) for the use and needs of a family today. Out of this, I will translate this scenery and layering of the city into a design concept.

This design will consist of a set of guidelines that will make it possible to densify in any spot of the city, in a way that it is integrated completely in that area. These interventions will become part of the scenery of the city and know how they influence this scenery at the same time.

Therefore I will start by zooming in, in the different areas that can be distinguished, based on the 'main section through the city' (see page p.73) and the different sceneries that are present there. This design and guidelines should be seen as a tool and work as a stamp, that can be used in any other section of the city of Ypres.

MAIN SECTION

ZONE A: ZONE B: historical centre former workers' homes

ZONE C: outskirt of Ypres

TYPOLOGIES:

Type 1 tower

Type 2 row housing

Type 3 cluster housing

Type 4 canvas housing

The typology 'Type 1' is an interesting case in these different typologies, but is not relevant to take into account in this study.

As I want to make the unwritten rule of the city into a rule that needs to be maintained in every future design, to stay under the six building levels and nock height of the monuments. In this point of view, the other types (Type 2, 3 and 4) are perfect cases to analyse and use in my design strategy.

Fig. 46. Main section of the city split up in three different zones.

Fig. 47. Different typologies.

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10. DESIGN FACTORS

87

ZONE A

TYPOLOGY

CHARACTERISTICS

'Gang' Corridor

'Winkel' Store

'Ijzeren trap' Iron stair

'Eetplaats' Dining room

'Keuken' Kitchen

'Koer' Small courtyard

raat

st Rijsel

'Werkhuis' Work space

historical A. 'HANDELSHUIS' or TRADING HOUSE Fig. 48. Redrawn of the original plans of the architect A. Leclercq (situated in the 'Rijselstraat'). centre

'Voorgevel' Front facade

'Grondplan' Ground floor 88

- sequence of spaces: from the collective space to the most private spaces, from the store to the courtyard en work spaces - facade: collective part on the ground floor and pivate part in the upper floors

TYPOLOGY

CHARACTERISTICS

B. 'WOONHUIS' or LIVING HOUSE Fig. 49. Redrawn of the original plans of the architect Roelandt (situated in the 'Rijselstraat').

'Voorgevel' Front facade

'Dwarsdoorsnede' Short section

'Kelder plan' Basement

'Gelijkvloers' Ground floor

'keuken' kitchen

'kelder' basement

'inkom' entrance

'eetkamer' dining room

'Lengtedoorsnede' Long section

'Verdiep' First floor

- stepped brick gable (facade) - floor heights of different floors: 1. low basement, 1,75 m 2. higher living space, 4,00 m 3. lower sleeping rooms, 2,50m 4. attic, from 1,00 m to nock height - half-floor staircase

'Mansarde plan' Attic

'slaapkamer' sleeping room

'zolder' attic

'badkamer' bathroom

'zolder' attic

'slaapkamer' sleeping room

'slaapkamer' sleeping room

89

- four floors: 1. basement 2. ground floor 3. first floor 4. attic floor - From facade to the back: - entrance: buffer to the private spaces - living space - kitchen - stair to go to the more private spa ces (rooms) - outdoor storage room

DESIGN PRINCIPAL - ROW HOUSING, closed plan construction

garden + outbuilding

6m

headbuilding

12-13m

3-4m

LEGEND: color code public character zone between public and common common character zone between common and private private character

Fig. 50. Row house models and plan.

IMPACT ON THE SCENERY

Fig. 51. Street view corridor.

Fig. 52. Height related to nock height of the monuments.

90

POSSIBLE LOCATIONS ZONE A: historical centre

Type 2 row housing

Fig. 53. Possible locations to densify.

91

ZONE B

TYPOLOGY

CHARACTERISTICS

former A. 'WERKMANSWOONHUIS' or WORKERS' HOUSE Fig. 54. Redrawn of the original plans (situated in the 'Tegelstraat' in 'Zaalhof district). workers' homes

a Za

Front facade - symmetry: 3 windows + 3 doors - abstract decoration above door and windows, varies but is all the same in one facade

f lho Type 1

Type 2

Type 3

Type 4

Section

entrance

living room

Ground floor - from entrance to garden: from public to collective to private - the order: 1. pavement that is used as collective space and buffer to the private living space(s) 2. living space 3. kitchen 4. restroom 5. garden 6. garage First floor

restroom

kitchen and dining room

room

room

- four parts: 1. head building (house) 2. outdoor house 3. garden 4. garage

bathroom

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TYPOLOGY

CHARACTERISTICS

B. MAISON DE TRAVAILLEUR Fig. 55. Redrawn of the original plans of architect A. Doppée (property of Charles Vermeulen in 'Zaalhof').

'Facade post' Back facade

- outdoor back house: with restroom - window composition: symmetry of big windows on the left side + small windows at the right side

'urinoir' restroom

'enduitciment' coatedcement

'Coupe longitu' Long section - from collective private space to most private space, from bottom to top: 1. ground floor: - living room - kitchen - backhouse with restroom 2. first floor: - rooms 3. second floor: - rooms 4. attic

' plinthe' plinth

'cave béton armé' cellarreinforcedconcrete

'trottoir' pavement

'urinoir' restroom

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DESIGN PRINCIPAL - CLUSTER HOUSING, closed plan construction

garden

garage

5-8m

headbuilding outbuilding

8-9m

5-6m

19-18m 24m

LEGEND: color code public character zone between public and common common character zone between common and private private character

Fig. 56. Row house models and plan.

IMPACT ON THE SCENERY

Fig. 57. Street view corridor.

Fig. 58. Height related to nock height of the monuments.

94

4-5m

POSSIBLE LOCATIONS ZONE B: former workers' homes

ZONE A: historical centre Type 3 cluster housing

Fig. 59. Possible locations to densify.

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ZONE C

CHARACTERISTICS

A. 'TWEEWERKMANSWOONHUIS' or TWO WORKSMEN HOUSE Fig. 60. Redrawn from the original plans of Mahieu H. (1924).

'Voorgevel' - symmetry Front facade - mirrored - curves - abstract detailing

Rijs else weg

outskirt of Ypres

TYPOLOGY

'Grondplan' Ground floor

'koolkot' coal hut

'Doorsnede' Section

- three parts: 1. front building 2. back building 3. garden - relatable heights: 1. two floors 2. one floor 3. ground

'Grondplan' First floor

- small corridor before entering the living space, works as mediator - front to back: less private (ente ring room) to most private (restroom)

'gemak' restroom

'waschkeuken'

bathroom

'keuken en eetplaats'

kitchen and dining room

'trapgat' stairwell

'zolder' attic 'voorkamer' front room 'kamer' room 'inkom' entrance

96

'kamer' room

TYPOLOGY

CHARACTERISTICS

B. 'FERMETTE' or FARMHOUSE Fig. 61. Redrawn from the original plans of the property of Mr. Louis Van Heule (1925).

'Cave' Cellar

'grenier' attic

'chambre' room

'chambre' room

97

'Facade vers la route' Facade along the road

- three parts from left to right: 1. stood 2. Port to the domain with garden 3. house - relatable heights: 1. one floor 2. ground 3. two floors and basement part

'Coupe maison' Section house

- three parts from top to bottom: 1. attic 2. ground floor 3. basement - relatable heights: 1. 1,5m until the start of the ceiling, which ends at 5,5m 2. 3,2m from ceiling to ground 3. low basement of 1,75m

'Plan ĂŠtage maison' House floor plan

- entrance is through the port of the domain, so forms a buffer before going into the house - the most intimate room seems to be seperated from the house (restroom and bathroom)

DESIGN PRINCIPAL - CANVAS HOUSING, open (or semi-open) plan construction

connected/not headbuilding

9-10m

outbuilding

20-21m

4-5m

9-10m

LEGEND: color code public character zone between public and common common character zone between common and private private character

Fig. 62. Row house models and plan.

IMPACT ON THE SCENERY

Fig. 63. Street view corridor.

Fig. 64. Height related to nock height of the monuments.

98

POSSIBLE LOCATIONS ZONE C: outskirt of Ypres

Type 4 canvas housing

Fig. 65. Possible sites to densify.

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100

11. THREE KEY CASES

101

102

1.

2.

1. Korte Meersstraat 2. Schuttelaerestraat 3. Rijselseweg

3.

Fig. 66. Three chosen key cases and other possible sites (grey).

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104

12. THE DESIGNS

105

1. OUTSKIRTS 2. HISTORICAL CENTRE 3. FORMER WORKERS' HOUSES

1. OUTSKIRTS BEFORE

public road train rails public pavement private housing private fence private gardens garages private empty terrain

Fig. 67. Existing situation translated in color code.

Fig. 68. Existing situation, Rijselseweg.

AFTER 1. After analysing the structure of the canvas housing, I translated this into a co-housing and co-working system. This system is projected on the specific site and adapts to the characteristics of this site, the typology.

2. It is a working and living concept, with co-working and co-living spaces. This spaces are arranged around a collective outdoor area.

3. In this arrangement the street remains public, but by the positions of the living and working units entrances can be created. From the street side into this clustering.

4. This intervention creates 12 individual houses (for families with one to two kids), 4 collective spaces (such as a daycare, co-working space, ...) and 2 dormitories (which consist of 8 single person rooms and 4 two person rooms and common facilities). This on a surface of around 3.500 sqm.

Interventions based on grid: collective facilities collective area private housing private gardens

Fig. 69. Situation after my interventions, in color code.

107

EXISTING SITUATION

Fig. 70. Existing situation, Rijselseweg.

108

TYPOGRAPHY This site consists of a grass land that is determined and is limited with trees. The position of the work and living units of the canvas system will be determined by this natural elements, the trees and the typography.

Present trees

Canvas system From private spaces around a private outdoor space ... to private individual housing around a collective area.

Pavement

Housing system

Main accesses

Collective areas

Fig. 71. Typography schemes.

109

GROUND FLOOR 1. Daycare for children and elderly people.

2. Co-working spaces with dormitory.

1.

2.

Fig. 72. Ground floor (original scale 1/350).

110

FIRST FLOOR

Fig. 73. First floor (original scale 1/350).

111

SECTION

112

Fig. 74. Section and section on plan.

113

SECTION INZOOM

Fig. 75. Section inzoom.

To link my design back to the studies I did previously, where I analysed existing typology cases by using a color code for the different types of spaces, I projected this color code on my design. This to show the overflow from private space in collective and public, in different layers and gradients.

Legend public road and pavement transit, from public to common or private collective area transit, from common to private private housing, indoor space private gardens, outdoor space

Fig. 76. Section with color code.

114

Fig. 77. View from the street inside the housing and working system.

115

2. HISTORICAL CENTRE BEFORE

public road public pavement private housing private gardens garages semi-private collective building

Fig. 78. Existing situation translated in color code.

Fig. 79. Existing situation, Korte Meersstraat.

AFTER 1. The street has here a strong public character, but by leaving the access open this inner area can become a collective area for the surrounding houses.

2. The intervention right after the entrance should follow the lines of the neighbour houses and should be kept small. To keep the entrance light enough and attractive to enter.

3. By opening up two walls, the whole collective area can be connected from one streetside to another.

4. This design refers to the reconstruction architecture by the new facade that works as a decor, but by articulating it in a new way.

The space between this facade and the building will be used as private outdoor space.

interventions public road public pavement collective area transition zone private housing private gardens semi-private

5. This intervention creates 6 additional individual houses, for families with one to two kids, within the existing context and a collective area.

Fig. 80. Situation after my interventions, in color code.

117

GROUNDFLOOR

Fig. 81. Ground floor, first floor and second floor (original scale 1/250).

118

FIRST FLOOR

SECOND FLOOR

119

SECTION

Collective area.

Intervention following the building lines of the adjacent buildings, to become a light structure filled in between the buildings and entrance.

120

Connection to the outside area of the St. George's Memorial Church and the other side of the street (Elverdingestraat).

Collective area.

Existing reception room that can change in function over time, into a community house or co-working space for example.

Small housing interventions can be created on this existing structure.

Fig. 82. Section and section on plan.

121

SECTION INZOOM

Fig. 83. Section inzoom.

To link my design back to the studies I did previously, where I analysed existing typology cases by using a color code for the different types of spaces, I projected this color code on my design. This to show the overflow from private space in collective and public, in different layers and gradients.

Legend public road and pavement transit, from public to common or private collective area transit, from common to private private housing, indoor space private gardens, outdoor space

Fig. 84. Section with color code.

122

Fig. 85. Street view.

123

3. FORMER WORKERS' HOUSES BEFORE

public road pavement with former collective character private housing private gardens garages semi-private

Fig. 86. Existing situation translated in color code.

Fig. 87. Existing situation, Schuttelaerestraat.

AFTER 1. I make the street collective again, so I make it part of the houses and collective area.

2. My interventions can be a sample to change this building block and create a common inner area and facilities that can be used by everyone.

3. The owners can sell a part of their garden and give it in this way to the collective area. The value of the houses will increase and the material of the elements that need to be demolished can be reused (in benches, ...).

4. The design will work as a kind of catalogue, or frame, that the owners will be able to fill in.

This refers again to the reconstruction of Ypres, where people could choose out of a 'catalogue' how they want their houses to look like (focused mainly on the facade).

interventions only local traffic and bikes, road collective pavement and collective area transition zone

5. This intervention creates 6 additional individual houses, for families with one to two kids, within the existing context and a collective area, with collective facilities.

private housing private gardens

Fig. 88. Situation after my interventions, in color code.

125

THE ENCOUNTER WITH WERNER AND HIS WIFE ...

At the base of this design lays the accidental meeting I had with Werner and his wife. I was walking in the Schuttelaerestraat while taking pictures and trying to find a way to get into the inner court of this building block. Werner was standing in his front door while looking around and greeting me. I saw that as a perfect step to start a conversation. After introducing ourselves he asked if he could help me and I explained him that I am finding a way to have a look inside the building block. He invited me directly into his house and garden, while offering something to eat and drink. Werner and his wife showed me around in their garden and showed me even the view on the gardens from their room. They were sitting on the bed and telling me some facts about their district. The street of this block along the Zaalhof park consists of the oldest houses after the reconstruction and on the west side of this block is the former textile fabric located, where all the workers used to work. Today there are stores located inside. Being able to meet each other again on the street and make it a collective space will become the base of my design strategy for this district.

Werner and his wife

Fig. 89. Werner and his wife, living at number 8 in the Schuttelaerestraat.

126

GARDENS INSIDE THE BUILDING BLOCK

Fig. 90. View in the garden, Schuttelaerestraat 8.

Fig. 91. View from the first floor into the building block, Schuttelaerestraat 8.

127

FACADES

GROUND FLOOR

6.

Six types of houses: 0. Existing house 1. House double facade 2. House entrance corridor 3. Original garage with house on top 4. Garage changed to workshop 5. Composed for disabled people 6. Single person and office

0,5 0

2 1

4m 3

128

5.

4.

3.

2.

1.

0.

Fig. 92 and 93. Facades (origional shown in color and interventions in lines) and ground plans of the 6 types of houses (original scale 1/100).

129

FIRST FLOOR

SECOND FLOOR

Fig. 94 and 95. First floor plans and second floor plans (original scale 1/100).

130

ACCESSES

Fig. 96. The three possible accesses to this collective inner courtyard, by opening two existing doors and using the parking access.

131

SECTION

ce spa g n i liv red and sha tchen ki ate priv use ho ne it zo s n tra n t o m n com veme c a i f p f l tra loca d bike an 132

ate priv rden ga

ive ect coll ea ar

n mo m e o v c ctiuse eo coll h use ho

Fig. 97. Section and section on plan.

133

SECTION INZOOM

ive ect coll ea r a ate priv rden ga

red sha chen kit

one sit z tran ive nt ect coll veme a ic f p f l tra loca d bike an

ce spa ing v li and

ate priv use ho

Fig. 98. Section inzoom.

To link my design back to the studies I did previously, where I analysed existing typology cases by using a color code for the different types of spaces, I projected this color code on my design. This to show the overflow from private space in collective and public, in different layers and gradients.

Legend public road and pavement transit, from public to common or private collective area transit, from common to private private housing, indoor space private gardens, outdoor space

Fig. 99. Section with color code.

134

Fig. 100. View, from one side of the shared space to the other.

135

Clay roof tiles, Keymer Goxhill D95 (Wienerberger, 265x165x12 mm) Counter and tile battens Vapor permeable foil Rafters (70x90 mm) Purlins (70x180 mm) Thermal insulation (80 mm between rafters, 120 mm between purlins) Vapor barrier Multiplex

Waalformaat bricks Wienerberger (210x100x50 and 210x65x50 mm) Cavity (30 mm) Vapor barrier Thermal insulation (PUR (0,24 W/ (m²¡K)), 110 mm) Waterproof layer Bearing concrete walls (140 mm) Finishing (plaster, polishing) (10 mm)

Wooden flooring (20 mm) Screed and floor heating (90 mm) Waterproof layer Thermal insulation (PUR ,110 mm) Waterproof layer Leveling layer (60 mm) Concrete floor (150 mm) Stabilised sand (450 mm)

Detail row house with transit zone (number 1, p. 128-130) Scale 1/50 Fig. 101. Detailed facade and section (scale 1/50).

136

Fig. 102. Street view and atmosphere.

137

Fig. 103.

138

This design can be seen as a sample for the entire Zaalhof district. Where in each block the possible other intervention places are pointed out. As I want to make these streets collective again, I need to have a look at the whole traffic system, to make these streets car free if possible.

Fig. 104.

139

Fig. 105.

140

As visible on the map, these streets can easily be connected to the main roads with two-way traffic (red).

The streets can in that way become collective use again and only exceptional local traffic will drive here, to go to specific houses or properties. On the map a future change is also indicated, in light red, to disconnect the traffic in the main city centre and make this place more usable by the pedestrians and bikers.

Fig. 106.

141

142

TERMINOLOGY

143

TERMINOLOGY Throughout this reflection paper I will make use of specific terms to describe specific elements, feelings and situations. These terms can be interpreted in different ways by different readers, therefore I made an inventory of how I understand those terms.

This list of terminology can be found at the end of this reflection paper.

144

_A ACT LOCAL To act local in a city, as designer, it is important to have been experiencing the city within the city and absorb all different elements which make it the city as it is.

For this act I would like to refer one of the three key elements for the architect Gion A. Caminada, namely ‘locality as driving force for realization’.

Locality for me means not the backwoods, for example by only living in Vrin (small village of Switzerland, were he worked and established his studio) . Locality for me means to be very close to the matter, understanding it. In that sense locality takes place everywhere, wheter rural or urban.

- Gion A. Caminade on learning and teaching architecture, interview in Valendas 2016

ARTISTIC MAPS Referring to Psychogeography, the artistic maps are developed from memory, imagination and experiences on location within the existing geographic environment. We reflect upon the own individual discoveries that we noted in the jot booklets.

(Gantois, Gisèle, Preamble Reflectionpapers Methodology - Interactive journeys, 2016-2017, KU Leuven)

_C COLLECTIVE SPACE It is important to note that public means everyone has a shared interest in spaces. In this way, public relates to the concept of the common, namely resources that are available to all members of a society. Collective space is the area available for common use by all tenants, (or) groups of tenants and their invitees.

(Toronto Community Housing. (2010). Using Common Space Policy. Digital document (https://www.torontohousing.ca/about/ Documents/Tenant_Common%20Space%20Use%20Policy_updated.pdf))

COUNTER MAPS At this point we transcend our own experience and integrate more of the voices of other people – exploring and highlighting relationships between elements of space and between elements of time.

These counter maps will basically start from commonly accepted maps such as topographic or road maps but they will be recast as a series of alternative mappings in which the (urban) landscape is re-imagined.

(Gantois, Gisèle, Preamble Reflectionpapers Methodology - Interactive journeys, 2016-2017, KU Leuven)

145

_E EXPERIENCE Experiencing the city.

Walking through a city is the best way to experience the different atmospheres, the building and open environment in the city and meet other visitors or inhabitants. To experience the city you will have to appeal to all your senses and try to breath in the city and its characteristics, from watching to listening, smelling and feeling.

Experience architecture.

Every design or architectural project should involve, from the start, how people will experience what will be made. You design not only a physical element, but you design the whole journey through the project and decide how the owners or visitor will experience all the atmospheres and elements created.

(Aarhus 2017. (2015). Aarhus Sustainability Model. Digital document (http://www.cultuurzaam.be/uploads/aarhus/attachments/ AARHUS_SUSTAINABILITY_MODEL_UK_web.pdf))

_I INTERRELATIONSHIP Interrelation for me is the connection between multiple people or groups or parts of a system among other people, groups or parts of a system. Such as the people that live in a city should be able connect and relate to other inhabitants, to their house, to the city itself. We are not living alone in a city, we are not even living alone in our house in this city, we are part of the city and we should keep this in mind.

(Suvanajata, R. (2001). Relations in Architectural Space. Digital document (http://discovery.ucl.ac.uk/1317698/1/271580_Vol1.pdf))

_P POROUS Something is porous when it allows passage in and out, or in other words when it is permeable.

When talking about porous borders in the city, it means that the borders are opening up and the spaces are gradually overflowing in to each other. The city is breaking apart and spreading, the more the borders become porous.

(UNESCO Publishing. (2009). UNESCO World Report. Investing in Cultural Diversity and Intercultural Dialogue. Digital document (http:// www.un.org/en/events/culturaldiversityday/pdf/Investing_in_cultural_diversity.pdf))

PRIVATE SPACE The one who privatizes space has acquired this space, bought it or has inherited it and confiscated or occupied it. He is protected by laws, habits and exercises control over his private space.

(Community. (2015). Definitions of Public Space as Common Space. Consulted on the 20th of February through http://community. dewereldmorgen.be/blog/lievendecauter/2015/05/02/definitions-of-public-space-as-common-space)

146

PUBLIC SPACE The public space is provided in the city as a place of public gathering, structured according to the rules and regulations of that state/city. This area guarantees equal access for all people of different ages, race or culture, people with very different needs, because they are all in search for the same public space and are able to meet here.

An argument to access and have the ability to inhabit public space must be understood as a 'right', drawing upon the work of Henri Lefebvre (1968), we can state that the right to the city is one way in which the idea of the public can be tested.

The street is far less public than one would think at first sight, because the street separates various flows of traffic and avoids conflict between them. This means you need to have a car to be allowed on one part of the street, or a bike to be allowed on another part of the street.

Likewise, the square is a public space in limited terms, because the pub owner or shopkeeper appropriates this space and can install his terrace or his goods on this public area.

(Gieseking, J., J.. (2014). Section 6: “Public” and “Private” Realms. Consulted on the 5th of March through http://peopleplacespace.org/ toc/section-6/)

_R RECONSTRUCTION Reconstruction is the activity of constructing something again, after it has been ruined by war for example. Reconstruction can be done in exact the same way as it was before destruction or it can be done as it seems like it has been rebuild in the original way, but changes has been along the imagination of the architect.

It is the act of ‘building again’, from the last stones that remained after destruction.

Reconstruction of physical elements, such as buildings and an entire city, also the reconstruction of the memories play an important role and go actually parallel. It’s part of a process of remembering.

(Archaeology Worldwide. (2016). Special issue 2016. Reconstruction. Digital document (https://www.dainst.org/documents/10180/ 2082824/Archaeology+Worldwide+Special+Issue+2016/0e33097d-1071-4c7b-b4dc-85b81a5cb7b2))

_S SCENERY The general appearance of a place, on a stage to represent a local or furnish decorative background. The building boundaries around a certain terrain, public place or street; enclosing them and creating certain views. It gives a certain character to a landscape and has a relation to the surroundings.

(Lynch, K. (1960). The image of the city. Digital document (http://www.miguelangelmartinez.net/IMG/pdf/1960_Kevin_Lynch_The_ Image_of_The_City_book.pdf))

_V VIEW CORRIDORS View corridors refer to the view that is created by the streets or build surfaces, that bounder and capture a specific view. This views lead you to a certain direction in the city. This view changes when you walk on a certain side of the street, on the left; right side or it is different when people walked in the middle of the street in the ancient times (most parallel view corridor).

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BIBLIOGRAPHY ARCHIVES AND LIBRARIES • Bibliotheek Ieper • Flanders Fields Museum • Kenniscentrum Ieper (dienst stedelijke musea Ieper) • Stadsarchief Ieper • Stedelijke Musea Ieper BOOKS • Caruso, A. (2008). The Feeling of Things. (unknown). Barcelona (Spain): Gràfiques Ossó, s.l. St. Feliu de Ll. • Choisy, A. (1899). Histoire de l'Architecture (The history of architecture). Paris (France) : GauthierVillars, Imprimeur - libraire.

• Cosgrove, D. (1999). Mappings: edited by Denis Cosgrove. London (UK): Reaktion Books Ltd. • Lagiewka F., Swyngedauw P. (2016). Over de Rand: Onderzoek naar een toekomst voor de stadsrand.

Gent (Belgium): Joeri De Bruyn.

• Le Corbusier. (1986). Towards a new architecure. London (UK) : John Rodker.

• Le Corbusier. (1993). Une petite maison 1923. Wallingford (UK) : Birkhäuser Architecture.

• Lefebvre, H. (1968). The Right to the City. In Writings on Cities, edited by E. Kofman and E. Lebas.

Cambridge, MA: Blackwell.

• Pieper, J. (1980). Ritual Space in India: Studies in Architectural Anthropology.

London (England): AARP. • van der Heijden, H. (2008). Architectuur in de kapotte stad. Bussum (Netherlands) : Uitgeverij HOTH. • von Moos, S. (2009). Le corbusier: Elements of a synthesis. Netherlands : nai010 Publishers.

• Zumthor, P. (2006). Thinking Architecture. Basel: Birkhäuser.

STUDIES • Labo S. (vakgroep Architectuur en Stedenbouw, UGent). (2008). Omgaan met de wederopbouwarchitectuur in de frontstreek van ’14-’18: Ieper en Heuvelland. Digital document (given by the city of Ypres).

FILES • DRDH Architects. (2015). OW1504 Ontsluiting Proosdijzaal Sint-Maartenskathedraal, Ieper.

Digital document (given by the city of Ypres).

• Gantois, G. (2016-2017). Protocol for walking. Letter 1, 2, 3. KU Leuven.

• Gantois, G. (2016-2017). Methodology-Interactive journeys. KU Leuven.

• Gantois, G. (2016-2017). Preamble Reflectionpapers Methodology - Interactive Journeys, KU Leuven.

• Robbrecht en Daem Architecten in association with 3D Real Estate. (2013). Herontwikkeling van de site ‘De Meersen - De Looie’. Digital document (given by the city of Ypres).

• Stad Ieper. (unkown). Open Oproep VB OO3106: Opmaak van een masterplan beeldkwaliteitsplan met voorontwerp inrichtingsplan voor de stadsvernieuwing de Leet en omgeving te Ieper.

Digital document (given by the city of Ypres).

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• Stad Ieper. (6.03.2017). Gemeenteraadszitting van maandag 6 maart 2017. Digital document (published by the city of Ypres, through their website).

• Stad Ieper. (6.12.2006). Gemeentelijke stedenbouwkundige verordening ter vrijwaring van het woonklimaat en het waardevol bouwkundig erfgoed. Digital document (given by the city of Ypres).

INTERNET SOURCES • Agiv. (unknown). Gdi viewer. Consulted on the 1th of April through http://gdiviewer.agiv.be/.

• Architectendvvt. (2017). Projects. Consulted on the 21th of March through http://www. architectendvvt.com/projects.

• BLAF Architecten. (2017). BLAF NEWS. Conuslted on 20th of March through http://www.blaf.be.

• Erfgoedcel C07. (2017). Efgoed haltes in westhoek-zuid: stilstaan bij erfgoed. Consulted on 23th of February 2017 through http://www.erfgoedhaltes.be/.

• Gieseking J. J., Mangold W. (2014). Section 6: “Public” and “Private” Realms. Consulted on 19th of March 2017 through http://peopleplacespace.org/toc/section-6/.

• NGI. (2017). Topomap Viewer. Consulted on 18th of Februari through http://www.ngi.be/ topomapviewer/public?lang=nl& • Onroerend erfgoed (een agentschap van de Vlaamse Overheid dat onroerend erfgoed in Vlaanderen inventariseert, onderzoekt en beschermt). (2007-2016). Inventaris Onroerend Erfgoed. Consulted on 22th of November 2016 through https://inventaris.onroerenderfgoed.be/.

• Ruimtelijke ordening. (2017). Gemeentelijke Ruimtelijk Uitvoeringsplannen (RUP). Consulted on 13th of January through https://www.ieper.be/gemeentelijk-ruimtelijke-uitvoeringsplannen.

• Toerisme Ieper. (2017). Vredesstad Ieper: Toerisme Ieper. Consulted on 16th of November 2016 through http://www.toerismeieper.be/.

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FIGURES Fig. 01. Abstract map of Ypres.

- own drawing Fig. 02. Distric Ypres.

- own drawing Fig. 03. Ypres situated in province West Flanders.

- own drawing Fig. 04. Ypres Belgium 1917 The Cloth Hall and Ypres Cathedral in ruins after the 3rd Ypres offensive, by Australian War Memorial (AWM). - Smythe Family. (2016). Ypres Belgium 1917 [picture]. Consulted through http://www.smythe.id.au/diary/ch10.htm.

Fig. 05. Main views of Ypres out of my jot booklets - own drawings Fig. 06. Interactive walk 7.11.16.

- own drawings Fig. 07. Interactive walk 8.11.16.

- own drawings Fig. 08. Interactive walk 9.11.16.

- own drawings Fig. 09. Interactive walk 10.11.16.

- own drawings Fig. 10. RECONSIDERING THE RECONSTRUCTED SCENERY - borders based on view and memories. - own model, handmade Fig. 11. 'Pop-up' map.

- own pictures, collage Fig. 12. RECONSIDERING THE RECONSTRUCTED SCENERY - Mission Dhuicque.

- own drawing Fig; 13. RECONSIDERING THE RECONSTRUCTED SCENERY - Public space as decor.

- own drawing Fig. 14. RECONSIDERING THE RECONSTRUCTED SCENERY - Ruins of the war.

- own drawing Fig. 15. RECONSIDERING THE RECONSTRUCTED SCENERY - Signs of the past.

- own drawing Fig. 16. RECONSIDERING THE RECONSTRUCTED SCENERY - Public space- view corridor.

- own drawing Fig. 17. RECONSIDERING THE RECONSTRUCTED SCENERY - Hard- porous border.

- own drawing Fig. 18. RECONSIDERING THE RECONSTRUCTED SCENERY - Waterways.

- own drawing Fig. 19. RECONSIDERING THE RECONSTRUCTED SCENERY - Water- nature- monuments orientation. - own drawing Fig. 20. Picture of Jacques Deseure, edited by Caroline Versteden.

- Deseure, J. (2012-2017). The town of Ypres [picture]. Consulted through https://www.daproverb.be/en/developer.

Fig. 21. Layering of the city.

- own drawing Fig. 22. Layering of a living unit.

- own drawing Fig. 23. Personal sketch: first imagination of the layering and scenery of the city into the interior of living space. - own drawing Fig. 24. Situation in Ypres from google maps.

- Google Maps. (2017). Situation in Ypres. Retrieved from https://www.google.be/maps/place/Gent/@51.0684521,3.7384897,451m/.

Fig. 25. Ground plan project 'De Meersen - De Looie' in Ypres.

- Robbrecht en Daem Architecten in association with 3D Real Estate. (2013). Herontwikkeling van de site ‘De Meersen - De Looie’. Digital document (given by the city of Ypres).

Fig. 26. Girls school by G. A. Caminada.

- Maria, g. o. (unknown). Girls school by G. A. Caminada [picture]. Consulted through http://hicarquitectura.com/2014/07/discoveringgion-a-caminada´s-work-girls-boarding-school-disentis-switzerland/.

Fig. 27. Allmannajuvet Zinc Mine Museum by Peter Zumthor.

- Amoretti, A. (2017). PETER ZUMTHOR’S ALLMANNAJUVET ZINC MINE MUSEUM IN SAUDA, NORWAY [picture]. Consulted through http://www.yellowtrace.com.au/peter-zumthor-allmannajuvet-zinc-mine-museum-norway/.

Fig. 28. Roman Insula.

- Unknown. (unknown). Roman Insula [picture]. Consulted through https://s-media-cache-ak0.pinimg.com/originals/2db2/ 11/2db2113ed255b35383f303ca96483549.jpg Fig. 29. Villa Savoye 1929, Le Corbusier, du jardin supérieur on monte au toit.

- Le Corbusier. (1929). Villa Savoye [picture]. Consulted through https://www.pinterest.com/pin/85357355408458954/.

Fig. 30. Acropolis in Athens.

- Choisy, Histoire de l’Architecture, 1899, t1, p.329, 330, 331, 332.

Fig. 31. View from the roof garden, House for Madame M., opposite the Parc de la Folie Saint-James, Paris, 1927.

- Le Corbusier. (1927). View from the roof garden, House for Madame M [picture]. Consulted through http://eardleydesign.com/halls/london/.

Fig. 32. View and plan of 'une petite maison'.

- Le Corbusier. (1942). La maison des homme [picture]. Consulted through http://etsavega.net/ra3/paisatge.html#.WTLEcRhh10t Fig. 33. View and interior of 'la maison de Hommes'.

- Le Corbusier. (1942). La maison des homme [picture]. Consulted through http://etsavega.net/ra3/paisatge.html#.WTLEcRhh10t Fig. 34. View of the dining room showing the mirror beneath the window. Steiner House, Vienna, 1910.

- Loos, A. (1910). Steiner house dining area [picture]. Consulted through http://archinect.com/features/article/2220223/architecture-in-thegivenness-toward-the-difficult-whole-again-part-2 150

Fig. 35. Section of Horta's House (left) and Studio (right) edited by Caroline Versteden.

- Czeballosv. (2.05.2012). Víctor horta: casa-estudio en bruselas [picture]. Consulted through http://talent.paperblog.com/victor-horta-casaestudio-en-bruselas-1434897/.

Fig. 36. Haptic movements of Pieper applied to Ypres, personal sketches.

- own drawings Fig. 37. Framed view from inside the wooden cabine along the Zillebekevijver on the towers of Ypres. - own picture Fig. 38. THE BUILD ENVIRONMENT - model map - own model together

with Prisca and Dorsa Fig. 39. THE OPEN SPACES - model map - own model together

with Prisca and Dorsa Fig. 40. Morphology sections through Ypres - own drawings Fig. 41. Section model.

- own model, handmade Fig. 42. Section model.

- own model, handmade Fig. 43. Catalogue: views in 'Rijselstraat' (north east, left, and 180° in south west direction, right).

- own drawings,

handmade booklet Fig. 44. Catalogue: views in 'Korte Torhoutstraat' (south west, left, and 180° in north east direction, right).

- own drawings,

handmade booklet Fig. 45. Catalogue: views in Ypres scenery.

- own drawings,

handmade booklet Fig. 46. Main section of the city split up in three different zones.

- own drawing Fig. 47. Different typologies.

- own drawings Fig. 48. Redrawn of the original plans of the architect A. Leclercq (situated in the 'Rijselstraat').

- own drawings, archive of

Ypres documents base Fig. 49. Redrawn of the original plans of the architect Roelandt (situated in the 'Rijselstraat').

- own drawings, archive of

Ypres documents base Fig. 50. Row house models and plan.

- own drawing and models Fig. 51. Street view corridor.

- own drawing Fig. 52. Height related to nock height of the monuments.

- own drawing Fig. 53. Possible locations to densify.

- own drawing Fig. 54. Redrawn of the original plans (situated in the 'Tegelstraat' in 'Zaalhof district).

- own drawings, archive of

Ypres documents base Fig. 55. Redrawn of the original plans of architect A. Doppée (property of Charles Vermeulen in 'Zaalhof').

- own drawings, archive of

Ypres documents base Fig. 56. Row house models and plan.

- own drawing and models Fig. 57. Street view corridor.

- own drawing Fig. 58. Height related to nock height of the monuments.

- own drawing Fig. 59. Possible locations to densify.

- own drawing Fig. 60. Redrawn from the original plans of Mahieu H. (1924).

- own drawings, archive of

Ypres documents base Fig. 61. Redrawn from the original plans of the property of Mr. Louis Van Heule (1925).

- own drawings, archive of

Ypres documents base Fig. 62. Row house models and plan.

- own drawing and models Fig. 63. Street view corridor.

- own drawing Fig. 64. Height related to nock height of the monuments.

- own drawing Fig. 65. Possible sites to densify.

- own drawing Fig. 66. Three chosen key cases and other possible sites (grey).

- own model Fig. 67. Existing situation translated in color code.

- own drawing Fig. 68. Existing situation, Rijselseweg.

-GoogleMaps.(2017).Existingsituation,Rijselseweg.Retrievedfromhttps://www.google.be/maps/placeIeper/@50.8465239,2.8850342m/.

Fig. 69. Situation after my interventions, in color code.

- own drawing Fig. 70. Existing situation, Rijselseweg.

- own pictures Fig. 71. Typography schemes.

- own drawings 151

Fig. 72. Ground floor (original scale 1/350).

- own drawing Fig. 73. First floor (original scale 1/350). - own drawing Fig. 74. Section and section on plan.

- own drawings Fig. 75. Section inzoom.

- own drawing Fig. 76. Section with color code.

- own drawing Fig. 77. View from the street inside the housing and working system. - own drawing, collage Fig. 78. Existing situation translated in color code.

- own drawing Fig. 79. Existing situation, Korte Meersstraat.

-GoogleMaps.(2017).Existingsituation,Rijselseweg.Retrievedfromhttps://www.google.be/maps/placeIeper/@50.8588848,2.8847783,2324m/.

Fig. 80. Situation after my interventions, in color code.

- own drawings Fig. 81. Ground floor, first floor and second floor (original scale 1/250).

- own drawings Fig. 82. Section and section on plan.

- own drawings Fig. 83. Section inzoom.

- own drawing Fig. 84. Section with color code.

- own drawing Fig. 85. Street view.

- own drawing, collage Fig. 86. Existing situation translated in color code.

- own drawing Fig. 87. Existing situation, Schuttelaerestraat.

-GoogleMaps.(2017).Existingsituation,Rijselseweg.Retrievedfromhttps://www.google.be/maps/placeIeper/@50.8540084,2.8861945,2322m/.

Fig. 88. Situation after my interventions, in color code.

- own drawing Fig. 89. Werner and his wife, living at number 8 in the Schuttelaerestraat.

- own drawing Fig. 90. View in the garden, Schuttelaerestraat 8.

- own pictures Fig. 91. View from the first floor into the building block, Schuttelaerestraat 8.

- own pictures Fig. 92 and 93. Facades(origionalshownincolorandinterventionsinlines)andgroundplansofthe6typesofhouses(originalscale1/100).

- own drawings, collage Fig. 94 and 95. First floor plans and second floor plans (original scale 1/100).

- own drawings Fig. 96. The three possible accesses to this collective inner courtyard, by opening two existing doors and using the parking access.

- own pictures and drawing Fig. 97. Section and section on plan.

- own drawings Fig. 98. Section inzoom.

- own drawing Fig. 99. Section with color code.

- own drawing Fig. 100. View, from one side of the shared space to the other.

- own collage Fig. 101. Detailed facade and section (scale 1/50).

- own drawings Fig. 102. Street view and atmosphere.

- own collage, drawing Fig. 103. DESIGN STRATEGY- key case.

- own drawing Fig. 104. DESIGN STRATEGY AS SAMPLE- for the former workers districts- Zaalhof.

- own drawing Fig. 105. TRAFFIC SYSTEM- Of Ypres today.

- own drawing Fig. 106. SAMPLE CONNECTED TO TRAFFIC- Main traffic and exceptional traffic.

- own drawing

152

I would like to conclude this paper by thanking the people that helped me during the making of this project.

A special thank you to Gisèle, for the encouragement, the trust and interesting sessions we had together.

Thank you to Linh for believing in me and standing by my side.

Thank you to my father, Carl, my mother, Hilde, my brother, Christophe, Oma and Luc, for the mental support and calming me down when it was necessary. Thank you to my Moeshie and Opa, who always gave me a lot of courage and love, even today.

I would like to thank the whole studio as well, for the support and help we had from each other, together with my close friends.