FEMKE TOPHOVEN 2016
2611 RE Delt
MASTER OF SCIENCE - ARCHITECTURE, URBANISM & BUILDING SCIENCES DELFT UNIVERSITY OF TECHNOLOGY, NETHERLANDS 2013-2016
BACHELOR OF SCIENCE - ARCHITECTURE, URBANISM & BUILDING SCIENCES DELFT UNIVERSITY OF TECHNOLOGY, NETHERLANDS 2009-2013
AMSTERDAM, NETHERLANDS ARCHITECTURAL DESIGN AND RETAIL INTERN February 2013 - June 2013
Involved from conception to design development stage. In charge of creating design proposal documents, including research and concept diagrams, and perspective renderings. Gained valuable managing skills through personal meetings with clients.
AutoCAD, Photoshop, Illustrator, InDesign, Sketchup, Rhino, Microsoft Office, physical modeling, lasercutting
MUSEUM ASGER JORN, STUDENT COMPETITION | SECOND PRIZE SILKEBORG, DENMARK January 2015
ACADEMIC REORDER DISORDER ASGER JORN MUSEUM
COMPETITION KARITAAT BRIDGE
REORDER DISORDER PUBLIC BUILDING STUDIO | GRADUATION PROJECT
SEPTEMBER 2015 - JULY 2016
This building is for me something that gets out of the predefined, standard and repetitive architectural methods to develop something that gave me new insights in architecture. I did not deal with predefined elements in architectural design and defined my own course.
In 1990 the Supreme Council of the Lithuanian SSR announced its secession from the Soviet Union and intention to restore an independent Republic of Lithuania. Present-day the capital city of Lithuania, Vilnius, is rapidly transforming into a modern European city. Many buildings are being renovated and the city is growing. There are certain themes one could consider when perceiving a city in an architectural way. For instance the organic patterns in the city, the grid, the way you could perceive the city as a diagram, the skyline, etc.
This case study is constructed by a design process that is not based on program, function, type, context, urban patterns, etc. but based on the investigation of non-ideal relationships between the accumulation of phenomena that lead to the awareness of contrast (spatial, material, etc.) in architecture. This alternative, experimental and unconventional design process as an answer to the opportunities and new insights this case study on Vilnius has given me.
The site where this design and process has been implemented is the Tauras Hill in Vilnius, a hill with a remarkable Soviet building standing on top. Even though the building has long been abandoned the impact of the building and its power is still noticeable. This location, unnatural and deformed in favor of the Trade Union Soviet building, is almost a provocative place to design something new. Seeing the Soviet Trade Union building with all its power and grandeur, looking for a non-ideal design, the perfect counterpart for this place is a very subtle, muted and reticent design. This to look for contrast and friction with the existing surroundings. By looking carefully at the context and trying to make subtle changes to it, the metaphor of the palimpsest came to use. Reading all the different changes over time (before the Soviet Trade Union building was built) and superimpose these changes and readings, a map was made as a guideline. The project aims to gain a deeper understanding of spatial logics found in a specific context by using a different approach, broadening the border between architecture as a discourse on space.
Site - Tauras Hill, Vilnius with the Trade Union.
Palimpsest - old traces from the past form design.
III Three techniques as guideline for design.
Palimpsest is known for its scraping away and carefully removing away the top layer to create a new layer to use, not actually adding a layer but scratching into the surface to reveal the layer beneath it, which can be used again for a different writing. In the design I took the ruins of the past, the changes in time, the paths that are now gone, and tried to subtle scrape away these traces in the context, representing the palimpsest. Using the literal paths from history as the actual outlines to form the new design. This alternative way of coming to architecture is something you cannot control in advance, this kind of experimental approach will lead to something you do not know and I think this way unforeseen qualities within your process can arise. The design is a combination of three leisure functions a theatre, cafĂŠ and exhibition space, three different functions, designed with three different techniques. These techniques are the techniques you can use while removing layers in the context; I. a cutting technique, II. a hacking technique and III. a bending technique. I used the three different techniques in the different building fragments. Three different fragments as an accumulation 1+1+1, of fragments that lead to the awareness of contrast.
Part I - entrance
Part I - cutting - section
Part II - hacking - section
Part I,II,II - section from right to left; the exposition, the entrance ramp, the cafĂŠ to the theatre with the curving roof.
Part I,II,III - joined section
Part II - view from part II into part III
To achieve the bending technique in the roof, the roof elements are double curved and they have a maximum span of 25 meters. The construction for this is made out of webs of ply, spruce and pine plywood and this is forming the interior cellular structure of the elements. ThIs results in a lightweight and strong wooden construction element without crosslamination, with an internal structure running in one direction. There are strips of timber to form the top and bottom which are connected by curved webs of plywood. This construction can bridge the large span of the theatre without the use of columns or big beams, the element in itself works like a beam and is an answer to the architectural demand of the inside of the theatre.
Part II - model zoom in of the roof. The hacking technique is clearly visible in the architectural composition and design.
Part II - view from the Tauras Hill onto the roof, representing the hacking technique. In the background the Trade Union building.
Overall view of the new subtle design, showing the three different fragments/techniques next to the Trade Union building.
ASGER JORN MUSEUM PUBLIC BUILDING STUDIO |STUDENT COMPETITION | SECOND PRIZE
IN COLLAPORATION WITH JOZIEN TIMMERS
SEPTEMBER 2014 - JANUARY 2015
While participating for the first time in a compitition I gained new insights and perspectives on architecture, perspectives that provided me tools and knowledge to deal differently with architectural assignments.
Silkeborg is a town located about 50 km west of Aarhus. The town is a former industrial area, today Silkeborg has a strong cultural approach and is a popular attraction for tourists in the summer months. In 1982 the current Asger Jorn museum was erected, designed by Niels Frithiof Truelsen. In September 2014 the town announced a competition for a new larger museum and a new urban plan was developed. The site is located in the middle of Silkeborg with strong connections to both build and the rural areas.
The site is laying at the border of two extreme contrasting layers. The urban layer with a straight grid and order and the contradicting overpowering nature that surrounds Silkeborg. The ultimate goal for the museum was to intertwine these extremes of urban and nature, using textures that are complementary with the style and art of Asger Jorn an show the spirit of this great artist, by using techniques that are also implemented in his own art.
Connecting different great landmarks surrounding the site led to an intersection which is used while coming to an architectural design. These lines determine the shape, the direction and the material use of the building.
Level 1 wardrobe, exhibition, special occasions and bar
Level 0 entrance, shop, exhibition, workshop and restaurant
Level -1 offices, storage, archive, new media
Elevations - although the design has a minimalistic approach it still embodies the style of Asger Jorn; connecting different layers and techniques, with accidentally an â€˜irregularityâ€™ or surprise. This abruptness that characterizes Jorns art is implemented in design (material, functions, atmosphere, etc.).
The exhibition space â€˜hoversâ€™ over the lake and has a panoramic view over the rural surroundings of Silkeborg.
IN COLLAPORATION WITH MAIKEL SCHOLTEN
Constantly rethinking your actions and the challenging time pressure has helped me to better reason and think about certain actions in the research and design process.
The ‘Recreatieschap Midden-Delfland’ and the Municipality of Delft intended to build a new bridge for pedestrians and bicycles across the Karitaat Molensloot at the southern border of Delft. The competition and the construction of the bridge was funded by the program for ‘Integral Development between Delft and Schiedam’, with additional subsidies for bicycle accessibility and nature from the province of South Holland and The Hague Region. The new bridge is to be part of a new bicycle lane south of Technopolis into Midden-Delfland.
The bridge is both a physical and a recreational connection between these two areas. The design is a combination of the two different worlds, representing them in equal measures. By doing so, the fast, technological, smart, and modern world will be intertwined with the nature and its tranquility, beautiful views and character. The bridge forms the transition between these two worlds and will not only be a place of transition but also a new public space.
The bridge has a wooden observation deck, floating over the water wich allows the passer-by to rest and look down the river, out over the beautiful nature and landscape. The other side of the design will be blocked by a steel-railing. This side is quite high due to blocking out the view on the highway. The high wall is made out of vertical steel louvers, letting the wind pass through. Walking through nature and onto the bridge, the design is made like walking on water. The flat deck, allowing wildlife to pass, makes a slight elevation after a few meters, so that boats and ice-skaters can pass through. This offset or elevation also remarks the beginning of a different world.
The design will be made out of three components. The first one is the all bearing prefab concrete construction. This structure can be easily put together on the site. The second component is the â€˜natureâ€™ side of the bridge, a wooden construction. This wooden construction will be entirely made out of wood from old bridges. Using old used wood makes this side of the design very sustainable and durable. The last component represents the modern side of the design. The smart, fast, technological side will be represented with the use of steel. The steel can easily be attached to, and removed from the concrete structure. There are pressure sensors in the deck linked to LED lights in the steel louvers; the lights will turn on in front of you while you are going over the bridge.
The Karitaat bridge - mixture of modernity and nature, merging into its surroundings.
PA I N T I N G