Thesis Architecture: From Citroën Yser to Future Mobility | TU/e

CITROËN YSER FUTURE MOBILITY Luuk van den Elzen

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CITROËN YSER FUTURE MOBILITY

Graduation Studio: “From Industrial Site to Cultural Identity” February 2016 - January 2017 Master Architecture, Building & Planning Eindhoven University of Technology

Author: Luuk G.P. van den Elzen

Graduation Committee: prof. ir. D. Gianotten ir. M.H.P.M. Willems ir. arch. B.C.I.M. Kuit

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[3] Citroen Yser Brussels

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ABSTRACT On the other side of Brussels’ canal rises a

Citroën Yser Brussels is an architectural

Nevertheless, in the end, it is just a car plant.

beacon of light. The tower is coming alive.

example of expressing corporate identity. In

It may be a beautiful car plant, but it remains

Inside the hall, the racing-driver makes his last

the case of Citroen: an identity of innovation

inaccessible to the public.

circuit around the track. The mechanic turns

and progress. The architecture matches the

the last nut on the latest electric prototype. The

ambition of the car maker. Architecture and

‘The Future Mobility Center’ is a new kind of

CTO is rounding off the E-Hybrid and Fuel Cell

cars met.

institution that creates the opportunity for

Electric Vehicle Congress. The visitors watch

different levels of stakeholders to exchange and

the final part of the Future Mobility exhibition.

Since the beginning of the modern era there

gain knowledge in Research & Development

The students have just finished their graduation

has been a strong relationship between cars and

and production in the field of Future Mobility,

project on a car that runs on formic acid. Once

architecture, especially in work of Le Corbusier.

and so enable society to connect with and enjoy

in the tower, they all meet up for a drink in the

As a result, architects today, are fascinated by

the future of mobility. The design presents itself

top of the tower, and a look out over Brussels, to

cars.

as part of both worlds, and represents an image

see what needs to be done to realise the dream they share.

of prospective mobility. The overall aim is to This thesis questions the future of urban

come ever closer to our aim to make electric

manufacturing, while facilitating architecture

and autonomous mobility part of our everyday

Mobility has become a global phenomenon. It

to allow people to experience and see Future

lives.

has left a permanent mark on human history.

Mobility. This combination is contributing

The car has defined us as individuals and has

to shaping that future. Hence the challenging

The building has been designed to celebrate the

outlined our built-up environment. The car

question: How can a new mobility institution

opportunities in the future of mobility that lie

is the transport mode of choice. The future of

provide space for urban manufacturing such

ahead of us. In the age of light, this is a stepping

mobility now seems to be autonomous and

that the public can experience the future of

stone to a brighter future. A future the students

electric. For the sake of the environment? We

mobility?

and visitors look out on as they share a toast to

are seeing more and more electric cars on the

the Future Mobility Center.

road. Why? The reason is no longer simply

Case studies of architecture and cars have

environment related. The arguments being

revealed an attraction in the architecture

given come from a range of emotional desires,

represented by the buildings in which they

including love and enthusiasm. And owners are

are manufactured. They have become an

visibly excited about their electric cars.

essential image for the future: part of society.

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[3] Concept

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PREFACE

Six years ago, I began my studies in the

these buildings into the cultural buildings of

The transformation thesis, under the name

Department of the Built Environment, at

the future; the transformation from highly

‘From Citroën Yser to Future Mobility’ reflects

Eindhoven University of Technology (TU/e).

protected industrial space into highly public

the ability of the current trends in automotive

One of the first things we were told us was that

cultural space. The studio offered me the chance

mobility to convince the public that this is the

we were going to be the generation of architects

to explore this vision further.

way forward. This is also portrayed in the design

who would no longer design and build

of the Future Mobility Center in Brussels. My

new buildings. We would occupy ourselves

Transformation is probably still one of the most

hope now is that this publication will be read

purely with transformation and preservation

imperative subjects in practicing architecture.

with as much excitement as I have experienced

projects. This was the future portrayed by our

In a way, my lecturers were right. In becoming

during the researching, designing and writing

lecturers. And here I find myself again, in my

the new architects of tomorrow, we have to

of it.

graduation project, ready to carry out one such

take our responsibilities with respect to our

transformation.

industrial built environment. This has been

Luuk van den Elzen

a common thread throughout my years in at

Eindhoven, December 2016

The studio ‘Transformation: from Industrial site

TU/e. And it has, therefore, been particularly

to Cultural identity’ investigates the qualities

fulfilling to continue developing this theme in

and challenges of industrial buildings, and

my graduation project.

identifies the possibilities of transforming

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[6]

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READING GUIDE The studio ‘Transformation - from Industrial to

overview a mapping exercise into the cities

relation to the history of the hardware, however

Cultural Identity’ was divided in two parts: one

of the abandoned projects was conducted.

with the future in mind. Part two further

is the joint research phase with the whole studio

Simultaneously we explored the data of five

examines the question of programming a Future

taking part, for the first three months and one

different cities in Europe, comparing them with

Mobility Center which is translated into the

individual part where we focused on our own

the project cities. The data found contained:

central design question.

research and design. The joint research phase is

population, age structure, religion, economy,

represented in a separate M3 research book.

cultural program, nationality, tourism, weather,

Part 3 explains the process of the final

and etcetera. The research book concludes by

design, design decisions taken regarding

M3 Research book portrays the joint research,

comparing all research done between Europe,

the organization and representation of the

an investigation into the trend of architectural

Asia and America.

undertaking of the transformation. Furthermore part three contains the relation between, the

transformations in a cultural context and its effect on the phenomena of identity, in a strong

This graduation rapport contains the individual

relation with the city. As well an investigation

research and design and is divided in five parts.

theoretical research and the design.

Part 4 displays the result the design using

into abandoned sites and their immediate surroundings and their relation with the city.

Part

1

The research was divided into Europe, Asia and

transformation

America. The investigation into architectural

examines the relation between architecture, cars

transformations resulted in a complete overview

and architecture in a historical perspective, and

of transformed buildings/sites in Europe. In

conducts a typological research into architecture

Part 5 contains all consulted and used literature,

addition to the overview we produced several

and cars. As well as the history of CitroĂŤn,

notes, illustrations, images and drawings.

timelines on different scales (Europe, city and

the initiator of the building. Along with this

project) to compare the projects in the context

investigation into the culture of e-mobility. This

of the European history and their immediate

results in the aim of designing a Future Mobility

context.

Center.

The second part contains an examination into

Part 2 describes the chosen building and

abandoned sites in Europe. In addition to this

motivates this choice in a historical context, in

explains and

my

approach

cultural

towards

identity.

It

situation, three-dimensional drawings, floor plans, sections, elevations and visualizations, and contains the conclusion on the thesis.

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PART ONE

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Research - transformation & industrial heritage - cultural identity

PART TWO

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Inquiry 21 25

historical research - Citroën yser

location - Brussels - Citroën yser

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construction of cars

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programming a future mobility center

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- inquiry into the program - constructing a track

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27 mobility research - mobility in the near future - e-mobility theoretical research - le corbusier and the car typological research - lingotto factory - unité d’habitation - renault centre - bmw central building - gm technical center

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51 61

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TABLE OF CONTENTS PART THREE

137

Design the problem statement research question

PART FOUR

167

Results 139 139

design process

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future mobility center - transformation - elements - functions - track - walkway - production & labs - urban - total - tower & roof - diagrams

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visualization

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situation axonometric views plans elevation

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track tower window into the future conference center research & development showroom

188 194 204 212 218 224

reflection | conclusion acknowledgements

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PART FIVE

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Sources

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INTRODUCTION

Window into the future

building in Brussels, which led to a desire to

decided to leave the structure in 2017. The

This thesis is the result of a 12-month graduation

design a Future Mobility Center. The research

Future Mobility Center aims to deal with the

project in the faculty of Architectural, Design

started with an exploration of how e-mobility is

transformation of the building following the

and Engineering at the TU/e. It has been

interwoven in society, and how society is facing

company’s departure. The solutions for this

produced under the guidance of Professor Ir.

this new phenomenon. An expedition into

transformation have been found in the history

David Gianotten, Ir. Maarten Willems and

mobility, connectivity, and community, heading

of its owner, in specific context qualities and in

Ir. Arch. Barbara Kuit. The aim of this thesis

towards the future. Allowing the public to have

the hardware, to revolutionise this building into

is to question what architecture itself can do

a ‘Window into the future’.

a capitalist cultural destination that facilitates

to improve and strengthen societal attitudes towards our Future Mobility.

an architecture which, in turn, will promote a Citroën built its prime location outside France

change in thought towards our mobility in the

in 1933, in Brussels, just on the outskirts

near future.

The research started with an exploration into

of the city centre. After almost 100 years of

Transformation and Cultural Identity. This was

urban expansion, the building is now located

followed by a detailed study of the Citroën Yser

in the heart of the capital of Europe. Citroën

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PA RT O N E TH E R E S E A RC H

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PA RT O N E TR A N S FO R M AT IO N & C U LTU R A L I D E N T I T Y

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Wrapping

Jux taposition

Superimposing

Weaving

Inser ting

[8] Methods of achieving links bet ween old and new- Franรงoise Astorg Bollack

Transformation

“Industrial

sites

are

the

visible

three-

new program while maintaining some of this

and negative. How can we deal with such a

dimensional record of our life on earth” the

heritage/history? Because as architects we could

feeling without transforming or turning it into

industrial sites we are aiming to transform into

see architectural value in for example large

a monument?

a cultural identity. We cannot keep everything

steel structures or gigantic spaces that lost it

and we cannot demolish everything. By

functional need, while the public just portrays

Usually the adaptation of an industrial site

adding and removing we aim to keep the three

is as an abandoned industrial building, maybe

ensures its conservation. Nevertheless, new

dimensional record and a history and aim for

even with a negative feeling towards it. Discover

uses should respect the significant material and

a cultural boost. Bollack divides approaches

the industrial sites, where the essence of the

maintain some original patterns. Because, the

for transforming sites and adaptive reuse of

design was on functional space rather than an

buildings and structures, built for industrial

buildings into five categories.

aesthetic one.

activities were of fundamental importance.

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They should be studied, their history should be In addition to an approach, part of this

However, in the Post War Architectural time a

seen and their meaning and significance put on

approach is the attitude toward history in the

building or site acquired a deeper and emotional

display. That should be the attitude towards old

approach of abandoned industrial heritage.

value when a building or the built environment

buildings, to use their history, context, and the

How to deal with history. And the dependency

became part of a significant event in history,

building itself, as a design generator.

of history for the success of the site. Van Schaik

like WWII. This value could both be positive

argues in her essay about this, using Strijp-S as a case study. “Is it true that the success of Strijp-S is not only stimulated, but actually dependent on the history of the area?” She states: “I cannot blame the municipality for using history to attract people to its city, but I can blame the architects for designing in a way that is dependent on this history, because its attractiveness is not guaranteed to stay”.2 How can we do more than play along with trends on industrial looks? As architects we should be able

Original structures would not have been perceived as ‘architecture’ or they simply would not have been noticed, but their integration into a contemporary assemblage propels them onto a new stage.3 Françoise Astorg Bollack

to analyse industrial heritage on its possibilities in a smarter way, surprising designs could be ‘discovered’ and interesting spaces could be created. Even structures that would normally be ignored by the public. “Original structures would not have been perceived as ‘architecture’ or they simply would not have been noticed, but their integration into a contemporary assemblage propels them onto a new stage”.2 How could the view of the public change of a dismissed industrial site? And by changing the view, attract the people to a site with a

Abandoned industrial space has become art’s default preference. (…)

Added elements should to my believe not be juxtaposed, to the existing, but should rather be an integrated part of the whole, as a continuation of the historic layers. In this way, the meaning of the place for the humans can be enhanced.4 Rem Koolhaas

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Industrial heritage?

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The industrial heritage is the evidence of activities which had and continue to have profound historical consequences.5

Industrial heritage refers to the physical remains of the history of technology and industry.6

Industrieel erfgoed is geen kwestie van definiĂŤren, we kijken liever naar het draagvlak binnen de gemeente en haar burgers waar het monument zich bevindt.7

The industrial heritage is of social value as part of the record of the lives of ordinary men and women, and as such it provides an important sense of identity.8

Alle materiĂŤle sporen van de industriĂŤle maatschappij.9

Industrial heritage consists of the remains of industrial culture which are of historical, technological, social, architectural or scientific value.10

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[9] Absorbing Modernit y, 2014 Venice Biennale

Cultural Identity

We expect culture shocks everywhere we go,

be researched in literature as well in a spatial

Thus, the architecture of today represents a

whether is on the other side of the Netherlands

study.

globalized identity. How this globalized identity

or on the other side of the world. But the western

is become the style of our buildings all over the

world is globalized and expanding. In society,

Reconsideration of our relationship to nature,

globe. How can I examine how people identify

architectural plays a role. The phenomena

our relationship to commercial stuff, to the

themselves with a building that in the end

of (cultural) identity is a key element in

city, the junk around us, most important, the

represents their culture?

architecture. We ask ourselves what concerns an

relationship with our past. Marcel Duchamp

individual, influenced by society, what concerns

argued that the Emergence of Pop Art, the

For example, Neutelings Riedijk aims to give

an entire society - culture? Everything, and

artist’s role as a social critic. In this shift the

identity to the communities that will use their

everyone is always exposed to - and influenced

cultural identity in buildings is different than

public buildings. This is quite a substantial claim.

by some level of culture, in the same way that

the absorbing modernity discussed before. In

Is it ethically justifiable that architects have this

culture is always exposed to - and influenced by

this particular case people started to occupy

sort of power? And how are they using it to let

everything and everyone.

abandoned/empty buildings in the city. The

the public in on their buildings. Further on I

buildings itself were playing an important part in

want to do an exploration of building functions

the

the new visual culture; they too became the stuff

that contribute to the identity of a place and

Architecture Biennale in Venice with a few of

of art production. Site specific performances,

are a positive intervention of a possible rather

my friends in architecture. We came across the

happenings, dance events used buildings as

negative abandoned site.

exposition Absorbing modernity, the theme

active participants. The building as a stage.

In

two

thousand

fourteenI

visited

for the National pavilions, explained in the following section.

If you look at these juxtaposed images, part of the theme ‘Absorbing modernity’, one may wonder where our identity expressed in our built environment has remained. However, this worldwide indication of globalization on architecture concerns the phenomena ‘identity’ and ‘representation’. The architecture of today represents a globalized identity. A generic presence. Nevertheless, identity and representation are two fundamental factors of architecture. Especially when people identify themselves through a building of culture and that possibly should represent their culture?!

What is the building communicating, what is it representing, the representation of an identity? A site or building is open for multiple interpretations, how is architecture enable to engage people to history and culture? This could

Absorbing Modernity 1914-2014 Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show, each in their own way, the process of the erasure of national characteristics in architecture in favour of the almost universal adoption of a single modern language and a single repertoire of typologies – a more complex process than we typically recognize, involving significant encounters between cultures, technical inventions, and hidden ways of remaining ‘national’.11

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PA RT O N E CI TR O Ë N

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[11] André Citroën [12] Citroën Trac tion Avant [13] Citroën Trac tion Avant

Citroën

Citroën

urban tissue, interesting in more ways than one.

1905 and resumed in 1926 on plans by architect

The complex built in 1933-1934 was one of the

Albert van Huffet, to be completed in 1970).

In the early twenties, André Citroën had laid

largest most modern garages in Europe before

the solid foundation of a national network

World War II. It traces back to the inspiration

Workshops, containing the parts warehouses,

of branches and garages. Following his own

that pushed the construction of the Eiffel Tower

service station and offices were located in

logic, he created the Architecture Department

in Paris.

the other wing on the northeast side. They were located in a large rectangular hall, 103

of Citroën to erect buildings to match its ambitions. It is exactly in Brussels that he

The exhibition hall, a cathedral dedicated to

by 130 meters long by an equally impressive

wanted to establish its first subsidiary outside

the cult of the automobile, measuring 76 by 17

architecture. The internal structure of this large

France.

meters, was originally a free vault height of 25

threes sided glass space are made of riveted

meters. In the original design, the shaped cocoon

metal structure, which is the work of genuine

or comet reflected the advanced technology

specialists and are supported by an assembly of

that characterizes the brand. It consisted of a

steel columns.

Citroën Yser Brussels La Société Belge des Automobiles Citroën

monumental bay window occupying the whole

(SBAC) was formed Thursday, January 31, 1924.

southwest side, overlooking La Place d’Yser

The exterior is characterized by large glass

The offices with workshops, with an area of 2500

panels framed in rectangular shaped frame

m², were located at Rue the L’Amazonie 47-51

painted brown that give it a smooth, cold look,

in the Saint-Gilles neighbourhood in Brussels.

In 1926, it was the acquisition of the building at Usines de Forest at la rue de Saint-Denis with buildings covering around 6,630 m². Then acquired the grand exhibition store at Boulevard

The exhibition hall, a cathedral dedicated to the cult of the automobile

which is a reply to the whole the nave shaped showroom. The access for vehicles was through three entrances, each facing one of the three streets bounding the building.

Adolphe Max, a prestigious address in the city

This set of modernist steel and glass without

centre. At that time, the workshops of the SBAC

any decoration is a monumental witness to the

were divided between La rue Emile Claus and

and ended in apse of glass, facing downtown.

functionalist logic of industrial architecture.

La rue du Compass, five kilometres apart.

The original building was a reminiscent of the

It was designed by two Belgian architects

early Roman basilicas. The two brick sections of

Alexis Dumont (1877-1962) and Marcel Van

In the early thirties, the head of Citroen bought

wall were coated with clear paint. At nightfall,

Goethem, in collaboration with the French

large plots of land near the site of La Place de

an indirect lighting flooded with soft light and

architect Jacques Maurice-Ravazé (1885-1945),

l’Yser (IJzerplein) of an old fill dock. Very close

well-lit this majestic volume where the cars

chief architect of the Architecture Department

to the centre of Brussels. The building that will

were parked on the white and black tiles, a

of the Citroën who was also the creator of the

be erected steals the title of “Europe’s biggest

checkerboard. The daytime show, when sunlight

Citroën to Lyon in 1932.

service station” from Citroën Lyon, built in

flooded the nave should not be less grandiose.

1932, it only had the title for two years.

The air of this piece was to cause major

Dumont and Van Goethem realized a series of

problems, which will in the medium term lead

Art Deco buildings in Brussels, including the

to substantial transformation of the hall.

buildings of the University of Brussels (ULB) on

This Citroën Yser building, visible from

the Boulevard de Waterloo near the Porte de Hal

a large distance and with great access and with an outstanding architecture. This huge

The main entrance of the exhibition hall was on

(A. Dumont, 1924 -1932), the School of Arts and

functionalist building covered an area of

the side of the wide boulevard, up towards the

Crafts, Boulevard de l’Abattoir (Dumont, 1926-

16,500m2, occupying almost a full block in the

Basilica of Koekelberg (construction started in

1933), the Shell Building (Dumont, 1931-1934),

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[14] Citroën Yser from Place de l’ Yser [15] Citroën Yser from Quai de Willebroeck

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[16] Entrance CitroĂŤn Yser at Quai de Willebroeck [17] Corner Quai de Willebroeck & Ruimingskaai

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[18] CitroĂŤn Yser Brussels

the General Insurance Trieste, Rue Ravenstein

of 5 meters above the ground, creating a closed

overall architecture. Then calculate the support.

(Dumont and Van Goethem, 1934-1935) and

exhibition space on the ground floor, preventing

Naturally opt for the works of Le Corbusier,

the Ravenstein Galleries (1954).

any view of the nave in the ‘cathedral’.

the way to build fast, lighter and cover large areas with steel, concrete, glass. The trusses

In this uncanny setting with a brightness

Then in the seventies, concrete slabs were

of the metal frame are manufactured in the

without limits where the latest technical

inserted, subdividing this gigantic space in

workshop, bolted and riveted in advance. They

innovations are used to the best, the lack of

multiple floors, banal ruined to save space for

are attached one after the other as playing cards

heat-insulating glazing in the mid-thirties has

the purpose of storing cars. The exterior was

that are recovering, on a concrete base, on a grid

many disadvantages: a lot of heat generation

fitted with a visible sheet of metal cladding

that will support the pillars. Every truss is then

in the summer periods in contrast with the

on the top, covering the concrete, the vertical

difficulties to maintain a satisfying climate

pillars painted in s light colour.

during cold periods. The workshop workers were not happy to work every day in these now

In the late 20

legendary places.

and ecological considerations lead to the

th

century, the economic

replacement of the huge single glass windows

Much of the charm of this ‘ship’ has now been disappeared, but the buildings are still there

The ensemble fits perfectly into the Zeitgeist

by heat insulating glass, unfortunately requiring

of the thirties - when, in the metropolises,

thicker frames. The whole façade including

the car was presented to the public in caskets.

vertical pillars is as dress up with white panels

It is a perfect model of the preferred designs

accentuated by red markings of the identity

bolted to its neighbour. While one team raises

by designers from the interwar period. The

of Citroën. With these thickened lines the

the windows in standardized and prefabricated

exhibition hall was often the scene of worldly

lightness of the original design is lost and in this

frames, another team fills the spaces between

configuration, the “hat” of the building seems

the beams with brick walls and a third laying

to be lost. Much of the charm of this “ship” has

the paving of the ground. Then the interiors are

now been disappeared, but the buildings are still

installed at night. Three more weeks and the

there.

building is completed, ready for operation.

The Citroën building on Yser is a contemporary

Today, at the Place de l’Yser, everything

architectural monument of the mid nineteen

remained. The walls of brick from 1933 are

thirties, featuring architectural designs of the

there, so are the metal stairs and railings. The

The exhibition hall was often the scene of worldly and popular presentations

interwar period, it is located in an area rich

wires of steel always run straight through the

and popular presentations: the Traction Avant

in heritage of this period. Its dimensions, its

metal pipes with precise dimension. Lampposts,

and much later the Citroën ID, DS; it attracted

historical, aesthetic and architectural features,

shapes as an inverted bowl mounted on the wall

large crowds, sometimes requiring the use of

its high visibility and recognition by the public,

are still operational. The clock unmarked and

police forces to organize the flow of people.

the whole Citroën building is a major part of

without figures that closely resembles the clock

Brussels’ cityscape.

of the Grand hall Parisian (Brillié manufactured)

Evolution of the building

counting up the minutes in a discreet click of Current state

needle movement by an electrical mechanism.

in the same way, neither outside nor inside. A

The construction principle is exactly the same

The sun filters through the canopy and falls

false ceiling was quickly constructed at a height

as that of the Quai de Javel. First define the

naturally in the repair shops blending with the

At present, the huge volume no longer appears

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[19] Gas station [20] Workshop

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[21] La Salle de L’exhibition

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[22] Citroën Trac tion Avant [23] Citroën DS [24] Tesla Model S

dust and forming a halo like a heavenly prayer.

The ship has no captain, the spirit is gone. Do

and broke down every other time but it was the

It fails to illuminate dark corners because of the

not touch anything. Let’s not clean anything.

excitement that this new thing brought to the

modern additions, structures and equipment.

The past is sleeping under the dust, which is

people.

Here hovers a mystery fog.

maybe the best we can do to protect it.

The sun filters through the canopy and falls naturally in the repair shops blending with the dust and forming a halo, like a heavenly prayer

That is where the brand stands today. Today it is less of a dream in the building, instead we sell.

You can dream for hours, in our heads, we have

They need to give you a glimpse of the future

the image, with shining cars from 1934, in this impeccable organization.

Car manufacturers seem to have forgotten how to dream. Is this the best car ever? We

Tesla (modern day Citroën)

do not know yet. But Musk knows what other manufacturers have forgotten in their pursuit

“Two minutes after Blik had parked it in front

of higher profits or averting their destruction:

of an elementary school, there were a dozen

cars should seduce. They need to give you a

little boys surrounding the car. The youngest of

glimpse of the future. “They need to shake the

the bunch asked if this was the latest Audi, the

inner child in you. The Model X does this like

If he were still there, the boss would order in

group gave him a derisive snort.” “Of course not

no other. Making it ‘De Snoek van onze tijd’ ”.13

a quiet tone and unanswerable, to scratch off

man, it is the new Tesla Model X. With falcon

the stained soils of rubber and oil, clean the

wing doors. Awesome! Can they open?”12

windows, dust off each steel bar and give it a new layer of brown paint.

But the war is over. With it slowly came a progress that was not expected. Not the continuity of the ideas of the thirties that were to bring more comfort, space, freedom, light, on the contrary, a progress came that breaks with the past, denies it, is ashamed of it and replaces it with consumption, the colour, the futile, which exalts itself, which destroys everything

Elon Musk knows how to brings boys into ecstasy. His Tesla Model X is what new cars used to be: full of features that you want to test

in its path, and the history. The steel and glass cathedral was filled by floors that now serve

Elon Musk knows how to bring boys into ecstasy.

to store used and new vehicles. Some ceilings

His Tesla Model X is what new cars used to be:

have not been repaired, broken tiles have not

full of features that you want to test. A bit like

been replaced. The birds have given themselves

Citroën once had. With the adaptive headlights

a place to joy and live. Wall coverings are

in the DS, or a satellite buttons on the steering

crumbling. The red and white decoration of the

wheel for the wipers and turn signals. Or with

corporate style highlights the latest machines

the on-board computers that Citroën from early

such as the Berlingo or an Xsara.

on assembled in their cars. It could do nothing,

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PA RT O N E E - M O BI L I T Y

Mobility in the near future

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The last 100 years have seen the car triumph as

stressful and we lose money every minute. And

the transport mode of choice. It has defined us

we want to live in green and healthy cities and

as individuals, extensions of our personality. It

we want to be able to move.

left a lasting mark on human history.

However, cars are still the most popular mode

I do not believe the introduction of motorcars will ever affect the riding of horses British MP John Douglas-Scott-Montagu14

of transport. Nevertheless, thanks to new technology and innovation, the experience is going to change as a motorist. In the near future we face a new phase in mobility. Electric cars, autonomous cars, connected cars for a cleverer and less environmental damaging mode of transport.

The car is has developed in a multimedia device rather than a vehicle bringing us from A to B.

In the beginning of the 21 century cars were th

still a far-fetched idea. People did not know

Like a smartphone, which we lived without until

much and people who did, did not, think it

about ten years ago and now cannot imagine

would last. The preference of transport was

living without, future automotive and other

horse-drawn. As shown in the picture below

mobility innovations will change fast from

during the Easter Parade in New York.

unthinkable to indispensable. The intention why Tesla was founded, Musk explains was founded

But they were wrong about cars. In ten years

with the goal of taking electric cars mainstream.

the horses were replaced by cars. As shown in the comparison of the Easter Parade on Fifth

“We are on the start of something brilliant when

Avenue in New York in 1900 and 1913.

it comes to movement.”15 We find ourselves

It is hard to predict the impact of new technology and how we embrace it. Technology changes things, changes society. You cannot be the guy or girl in the horse-drawn carriage.

Cars changed the world. The way we lived, moved. But with this change, a century later we have come to a standstill. Global gridlock.

We are on the edge of something brilliant when it comes to movement Narinder Purba

Urban congestion, smog, and a 100 kilometre traffic jam that took twelve days to clear.

on the same point as a century ago, when the change went from a horse to a car. “As the

We are reaching our maximum capacity. It

century unfolds, one thing is certain, travel is

is damaging to our planet, it is not fun, it is

going to be better than it has ever been”.16

43

[26] Easter Parade on 5 th Avenue, New York (1900) - one car

[27] Easter Parade on 5 th Avenue, New York (1913) - one horse-drawn carriage

E-mobilty

44

Current situation E-mobility

Fifth Avenue is full of horses, with only one car.

Thus? Once the range realistic exceeds 300

Thirteen years later, a similar picture is taken

kilometres and the price drops below thirty

When we think about electric cars, most

with only cars and one horse. The car replaced

thousand Euros, electric mobility will explode.

people consider it a niche, irrelevant. Merely

the horse in one decade,

Some cars almost reach this point, and similar

for someone who cares about the environment.

cars from other brands are on their way. The

Some countries are even changing their laws in

Face the facts, he same happened with the rise

biggest problem will soon be the huge demand

disadvantage of the electric car. The Bovag in

of the radio, television, mobile phone. Suddenly

for batteries can be met. If that is successful,

the Netherlands only expects 10 thousand new

these new products were everywhere. Insiders

your next new car is electric.

electric vehicles to be sold in the next four years.

underestimate new technologies. Think of

The electric car is not doing well.

Kodak. Nokia, even Volkswagen.

Feeling towards E-mobility

The opposite is true, say technology researchers.

Volkswagen thought that they could continue

On the next few pages I show the research

We are at the beginning of the S-curve, which

and survive with diesel technology for the

into E-mobility in quotes and diagrams. To

every technological revolution experiences. New

coming years. Diesel Gate pressed Volkswagen

portray the feeling towards E-mobility and

technology is first picked up by a small group

to face the facts and they took a different

the significance of E-mobility, explained in

of affluent enthusiasts. For a while it seems that

direction. From 2020, CEO Matthias Müller

diagrams.

the novelty will have insufficient attention. Until

thinks a Golf diesel will cost the same as an

the circumstances changes, and suddenly more

electric car. And then things are going to

What is the reason that people decided to live

people acquire the product. Thereby reducing

happen fast. The electric car is much cheaper

with an electric car. It is not environmental

costs; even more people purchase the product,

in ‘fuel’ is cheaper and is used more efficiently

related, the arguments show an image of

and the sale will explode.

and requires less maintenance. A normal car

emotional desires; love and enthusiasm, people

has more or less two thousand moving parts,

are excited.

That effect is shown in the comparison of the

an electric Nissan Leaf has a twelve, including a

two pictures on the previous page. In 1900

steering wheel and wheels.

An automobile is ‘still an emotional purchase’.

But purchasers who once cared about chrome are now more emotional about technology add-ons that maintain drivers’ connectivity with their homes, offices and friends.17 George Will

Logic does not

often prevail in the marketplace Love, enthusiasm and emotional desires do.18 Zachary Shahan

I guess what I had not expected was getting in something that is a spaceship, it was sitting like in the future.19 Tesla owner

Things you would expect from a car built in the era of the

internet, a car built in the era of modern computers. 20 Tesla owner

45

Demand for (electric) mobility willincrease increase Demand for mobility will

46

3

50 %

billion

Annual worldwide increase of motorised vehicles until 2030

of the world’s population that will be middle class by 2050

people will inhabit the earth in 2050

%

9,5

7 billion (2016) ‘Future of highways’ Arup - 2014

Significance of e-mobility

Significance of e-mobility

53

56

95

The world has 53 years of oil usage left

Estimated 56% world oil consumption comes from transportation

95% of the world's transportation powered by fossil fuels

years

%

%

[28] Demand for E-Mobilit y [29] Significance of E-Mobilit y

Source http://www.bp.com/ http://www.epa.gov/ http://evsroll.com/Car_pollu9on_facts.html

You will soon be able to get Porsche performance for Buick prices and when you get that, neither Porsche nor Buick are able to compete. 21 Tony Seba

I could understand the electric, and believe it was a very important part, but that didn’t come first.

The car made measures of performance, beauty, absolute utility. With those things at mind it became apparent that this was something special.22 Tesla owner

47

Stakeholders

48

MANUFACTURER

CONSUMERS

EDUCATION

GOVERNMENT

INFRASTRUCTURE

RESEARCH

ELECTRICITY PRODUCERS

GRID OPERATORS

BATTERY MANUFACTURING

Concept e-mobility

PARTIAL SOLUTIONS TO E-MOBILITY

CATALYST FOR E-MOBILITY

[30] Stakeholders Future E-Mobilit y [31] Concept E-Mobilit y

SHOWCASE FUTURE OF E-MOBILITY

It is such a good feeling to drive a clean car. It means I have a clean conscience and it works out cheaper i n the long run. 23 Elisabeth Bryn

I am part of the electric movement.

I can be involved in this and make a change happen. 24 Tesla owner

If the government can make e-cars as affordable as petrol equivalents climate is not a problem, people buy them. 25 Zachary Shahan

49

“welcome everyone to the worlds’ first electric supercar”

“I am ast

“it is as q library for ch 48 50

“to find out just how fast it is I lined it up for a drag race against its petrol powered twin”

“it is not a torch!” “it is a rampant rabbit!”

“and it’s like a food torc

“what in th God is pow thin

“it sounds th sum of dre there are d “it feels brilliant”

tounded”

quiet as a church mice

“you put it in S+ mode and put your foot down’’ “this is mind-boggling” 49 51

electric, blender, a ch”

“and how can a glorified torch possibly beat a 6.2 litre V8”

he name of wering this ng!”

“this doesn’t feel like anything I have ever driven before, it feels like a thoroughbred”

hen like the eams, but drawbacks”

“but when there is no choice, when the oil has ran out, this car does at least show us that the speed machines will live on ”

52

53

PA RT O N E LE CO R B U SI E R

54

[34] Vers une Architec ture [35] Model maison Citrohan

Le Corbusier and the Car architecture and the automobile

Where does architecture and the automobile

to formulate a language that was related to the

principles of the car industry. If the principles

meet? Since the dawn there has been a strong

production and design process of the car. The

of the automotive industry were to be applied

relationship between the two. Many architects,

key to this was the car itself.

to houses, soon there would emerge valuable

including Le Corbusier, have tried to understand this strong relationship.

unknown

forms.

Through

applying

the

The car was admired as a symbol of until then

industrial methods, soon there would be an

unprecedented speeds, as well as an aesthetic

aesthetic form that appealed to the human sense

The car itself was a model for a new élan, a new

object. The development of the car was an

of beauty. The same level had to be achieved in

modern architecture. The appealing thing of

excellent example of mechanical evolution in

the functional field. The key was perfection.

the car was its fast evolution. This evolution,

the eyes of the purists. Especially the speed

To reach perfection, a ‘standart’ needed to be

different from that of the architecture, was

of this evolution was easy to oversee. The

formulated. ‘Standart’ was the collection of

simple to keep track of because of its speed. The

development of the car happened in one

universal values that determined the perfect

car was in terms of structure easy to compare

lifetime; simultaneously with the generation of

solution to a problem.

with

Le Corbusier and Ozenfant. The process of the

architecture.

“The

static

controlled

environment is called architecture”,

26

wrote

Stephen Bayley in Sex, Drink and Fast Cars.

car engineer and manufacturer could therefore

The evolution in architecture was in a crisis.

serve as a format for the new architect.

Contemporary architecture did not have a

The only difference between an automobile and

‘standart’. Compared with the development

a building is the immobility of the latter. This

of the car the backlog became apparent. The

caught the imagination of the generations of architects who came along with rise of the car.

They were part of the first generation who grew up with the car. And Le Corbusier was one of them. Le Corbusier’s propositions came down to this: anyone who travels in a modern and advanced invention like the car is in need of an architecture that is modern and advanced as

If houses were built industrially, massproduced like chassis, an aesthetic would be formed with surprising precision Le Corbusier, 1923.

well.

solution thought to find Le Corbusier in the rapid evolution of the car. Thus the evolution of the car was a blueprint for the evolution of architecture.

Maison Citrohan.

Le Corbusier visited the Ford plant. “Why can’t we mass-produce houses – standard, welldesigned, at low cost – in the same way Ford

The follow up question was, how could one

Once, architecture was able to reach such

arrive at such an architecture? The automobile

perfection like the development of the car:

performed as an example in the development

the Greek Temples. Le Corbusier liked to

Citrohan to not use Citroën, in other words,

of

machine

make analogical leaps. A famous analogical

a house like a car. According to Le Corbusier,

aesthetics. Aesthetics because it turned out that

leap was the Parthenon - 1921 Grand-Sport

a house had to be designed, produced and

the industrial design and manufacturing in the

automobile analogy. The Delage Grand-Sport

constructed like an automobile. Due to the cars

automotive industry developed its own design

was ‘perfection’, the same as the Parthenon had

necessary and efficient and commercial design

language in a short time. Functionality because

reached perfection in architecture. However

method, there would appear an esthetical and

the function of the car, the driving, was the main

perfection was hard to find in architecture at

functional design. Maison Citrohan is the only

aspect in the design. And machine aesthetics

this moment.

example executed in this philosophy.

produced car showed universal values. Le

Nevertheless, everything could still work

Using the technique and production methods

Corbusier conclude that the architecture had

out if architects would act according to the

of the car industry it was possible to distil the

aesthetics,

functionality

and

mass-produces cars”.

because the design language of the industrially

55

56

[36] Voisin in Villa Savoye [37] Voisin in front of Villa Savoye

universal laws of nature and generate a new

at that time. However, the test track was more

that circulation is as important as structure

aesthetic. In addition, with a similar production,

of a playground for cars and a testimony of a

- architecture is circulation and it ought to be

problems in the new age could be resolved, such

modern esprit in the design. The use of this roof

properly articulated.

as living demands, housing shortages and car

was a manifesto for the future of society.

Villa Savoye

nuisance.

One can notice the resemblance with Le The arrival of the (‘electric’) car also brought

Corbusier’s Unité d’Habitation. Functional

Le Corbusier’s early integration of the car

new industries and businesses with it. The

program on the roof. One of the functions was

would eventually lead to Villa Savoye (1928-

arrival of the automobile thus initiated the

the running track that was added on top of this

1932), which would be the most consistent

development of a number of new buildings

concrete housing block in Marseille.

elaboration of this idea. Villa Savoye was built

such as garages and petrol stations. This also

entirely around the car (Le Corbusier’s own

drew the attention of Le Corbusier. In ‘Vers

The habitations, the vertical cities, hovering

Voisin) and was the sum of Corbusier’s ideas

une Architecture’ and in ‘Oevre Complète

on pilotis. In this way, the apartments were

until then. All five points for a new architecture

separated from the dynamic, according to Le

were applied in the design and the promenade

Corbusier. Namely, by putting the building on

was the essence of the villa. He considered the

stilts, housing was separated from the moving

design as a miniature urban puzzle. How could

activities such as driving. Obviously, a never

he connect the circulation of the car outside the

executed garage was planned between the

house to the circulation inside the house?

A house is a machine for living in.

Le Corbusier, 1923.

pilotis.

The circulation inside the house was a Promenade Architecturale

1929-1934’ for example, was paid considerable

continuation of the route outside the house.

Just as outside they had to choose between

attention to Fiat’s Lingotto factory, built between

Maison Citrohan already showed that even

two routes. The concept was reminiscent of

1917 and 1922 in Turin. Le Corbusier visited the

existing building needed adjustments to fit this

the baroque gardens, like the gardens designed

building. The Fiat factory was renowned among

new invention, called the automobile. Maison

by Andre Le Notre, which during the walk the

modern architects. The publication in ‘Vers une

Citrohan had a rudimentary garage, yet no

visitor was confronted with unexpected visual

Architecture’ enhanced it.

solution for the approach and entrance for the

attractions. The arrival by car and the appearance

car itself.

of the house seen from inside the car were part

The factory was an early example of the

of this. The way the car could get inside Villas

possibilities of concrete structures and full of new

The approach of a car would act as a superb

Savoye was a derivative of the traffic, in the Plan

solutions. The building illustrated the beauty of

extension of the circulation, the ‘Architectural

Voisin. The different types of traffic, in this case

the construction in the new age. The plant was

Promenade’, which Le Corbusier quickly

the pedestrian and the car, had to be on separate

stuffed with new inventions and gadgets. This

incorporated into his designs. The approach of

levels. Villa Savoye resulted in the desire to

made the building a sort of industrial temple.

a car connecting to the circulation appeared for

dictate the distance between the car and the

Like the striking ramps for cars, that meandered

the first time in the design of Villa Favre Jacot

domain of pedestrians. The ground floor acted

through the complex. Their end destination was

in 1912. The ‘Promenade Architecturale’ was a

as the transition area and connection to the

spectacular: a complete test track on the roof.

path through and around spaces and volumes

inner Architectural Promenade.

Prototypes could also deliver cars to be tried in

of the building designed with the aim to offer

peace and security. The speed limit was around

an aesthetic experience. But the circulation

Separating walkers and the circulation of the

100 kilometres per hour, which was enough

also followed from Le Corbusier’s beliefs

car became a common factor for his designs.

57

58

[38] Voisin in front of the Pavillon de Suisse [39] Le Corbusier and his Voisin

The design for an apartment building in Algiers

handmade bed or an established typology like

an expression of itself, with its own machine

(L’Oued-Ouchaia

logic and its own style.

contained

the Paris’ Hôtel. The characteristics of the car

an internal street underneath the building,

and

Durand)

in design, functionality and production, were

separating pedestrians and cars but connecting

also the characteristics of the modern home, the

Le Corbusier moved beyond his theory,

the flows on the ‘street’ Like Villa Savoye and the

modern bed, the characteristics of modern life.

entering (with his cousin Pierre Jeanneret) an

Lingotto Factory, also a reminiscent of urban

automobile design competition. He submitted

design, the apartment building was a vertical

plans for ‘a minimalist vehicle for maximum

city with its own traffic solution. - The same

functionality,’ the Voiture Minimum. Despite

idea applied to Citroën Yser Brussels. André Citroën wanted his workshop and showroom in Brussels to be a miniature city. A balance between a workshop and a city café. - A drive could, like in Villa Savoye begin or end in the building. So, one of the requirements of modern life was fulfilled.

Le Corbusier insisted that his buildings photographed with a modern automobile in the foreground.

Antonio Amado, 2011.

the energetic promotion of Le Corbusier for his design to several important automakers, the Voiture Minimum was never mass-produced.

The Citroën 2CV and the Voiture Minimum designs that were clearly derived from the same objective and ‘esprit’. They were basic solutions, or really the standard for driving. It was the sublime functionality. Perhaps the 2CV was the

Voisin

only true successor of Le Corbusier’s idea.

Pavillon Suisse Citroen DS

Voisin and Le Corbusier had a close relationship.

He insisted that his buildings photographed

The car was the model for the structure of

with a modern automobile in the foreground.

the building. The building consisted of a

The DS, the first intelligently designed car,

The different pictures of Villa Stein shows the

metal skeleton placed on concrete pilotis, the

the result of a selection which the 2CV and

Voisin as an indispensable ornament to the

industrialization of architecture was born. The

the products of Voisin pointed out the right

Villa. The resemblance between the Voisin with

use of pilotis kept the ground floor free for

direction. The DS was maybe the ‘standart’. Even

a factory bodywork and the Villa became clear.

dynamic activities. The pilotis are a solution to

the thesis of Le Corbusier that the aerodynamics

Following the example of the Voisin, the house

the traffic problems in the city. Function and

should answer to the laws of nature became true.

had functional design, primary forms, sober

ability pilotis.

As he predicted in ‘Vers une Architecture’, the

elegance and a large area of glass. Both objects were products of the new industrialized society.

design of the DS from the aerodynamics of birds Cité de Refuge

Both were the avant-garde of their area and

and fishes. A high degree of perfection had been reached in the unprecedented smooth surface

time. This was the architecture and transport of

All aesthetic and construction principles of Le

of the DS-bodywork. In this car Le Corbusier’s

the modern humans.

Corbusier’s architecture were present in the

previously dropped propositions came together.

buildings and thus the relationship with the car.

This was the appropriate architecture that would

So the picture can only relate to the shape and

With the help of the selection process, on the

perfectly fit with the car, a modern invention. He

structural relationship of the two objects.

basis of economic and functional goals, one had

denounced the so-called modern man, excited

Voiture Minimum.

arrived at the ‘standart’. The Citroën DS was

about the technically advanced car, but slept

obviously a French ‘standart’. It was the poetic

without worries at night in a handmade Breton

Of course Le Corbusier practiced at a time when

bed. With the excitement and enthusiasm

the automobile was just emerging from its time

for cars belonged a new lifestyle without a

without horses and carriages and was becoming

translation of an advanced driving machine.

59

60

[40] Vers une Architec ture - Le Corbusier

61

[41] Vers une Architec ture - L’Elzen

62

63

PA RT O N E T Y PO LOGY R E S E A RC H

64

“A time when speed really was everything”

“Reminder of a time of unbridled enthusiasm and speed”

65

“Celebration of the automobile, speed, and power above all else�

Factory the image of modernity

66

The factory is the most effective shop window, conveying an image of modernity or tradition, as required. The building can be an effective metaphor. The factory might serve as a sales vehicle.

One of the first examples of this phenomenon wad the Ford River Rouge Plant in. As one visitor described it: “each unit is a carefully

People like to do business with a welldressed factory just as truly as they prefer to business with welldressed men Albert Kahn

designed gear which meshes with other gears operated in synchronism with them, the whole forming one huge, perfectly-timed, smoothly

The Factory as an Icon.

operating industrial machine of an almost

The Factory as a Sales Tool.

unbelievable efficiency.”

The Factory as Laboratory.

...factories, the reassuring first fruits of the new age.

Le Corbusier28

Usually, a factory is a closed facility, not accessible by members of the public. My aim is to create a city centre building, a cultural monument as much as a research center and automotive plant in the historic city centre of Brussels.

Something alike happened in Italy a few years

“Heavy industry in the centre of town? Why

later. Futurist Marinetti wasted no time in

not,” says Jonathan Glancey. “Dresden’s new

claiming the Fiat Lingotto factory as “the first

VW plant is on a par with Tate Modern and the

invention of Futurist construction” , for it

Bilbao Guggenheim.”32 Volkswagen’s Glaeserne

was the automobile that carried the hopes of

Manufaktur is the proof that industry, in a

Futurists. Likewise. André Citroën was quick

modern 21st century style can be part of the city

to realize the advantages of a strong corporative

and its something to celebrate.

31

identity and brought flair to his design of dealership and service centres.

My building should be a machine for Mobility, A machine for (driving) electric cars. Therefore

Factories aim to promote a manufacturer’s

the Future Mobility Center should have a

identity, and as a result they are architectural

slight resemblance to an image of a factory. A

phenomena in their own right. The architecture

manifestation of celebrating technology in a

advertises the design philosophy and power of

modern urban (cultural) factory.

the manufacturer.

[44] Fagus-Werk - Walter Gropius

67

Lingotto factory

by Giacomo Matté-Trucco

68

“Workshops and a rooftop racetrack, Fiat’s

gradually moved through the upper floors until

lingotto factory was an icon of Italian

they emerged at the top, complete and ready

industrialism. Nowadays it is a cultural centre

to be tested on the roof track. It was brilliantly

and retail space, transformed by Renzo Piano.

logical and showed how Fiat was at the cutting

“The building remains a reminder of a time of

edge of the new industry.”34

unbridled enthusiasm and speed.”33 It boosted Italy’s standing as a country of The architect was Giacomo Matté-Trucco,

innovation. It was the idea of driving on the

fascinated by the form of modern factories,

roof that fired the imagination of the people,

the Fiat factory was Europe’s most modern and

and especially modern architects, who were

largest car manufacturer plant. He brought in

adding rooftop terraces to their buildings.

the production line, after seeing it in action at

The roof track remains today, a reminder of

Ford in the US. “The basic materials were first

an exhilarating time when speed was really

assembled on the ground floor and vehicles were

everything!

READY

BASIS [45] Lingot to Fac tor y Concept [46] Le Corbusier on the roof top track [47- 49] Roof top track Lingot to Fac tor y

69

Assenvaux Imperia rooftop track Belgium

70

Fiat’s imposing Lingotto was not the only factory with a rooftop test track. Imperia, a long-dead Belgian car manufacturer, also had a similar facility in Nessonvaux, about sixteen kilometres southeast of Liege, predating Turin’s more famous version of the concept by several years.

The approximately one kilometre long track was made of brick pavers with a concrete banking for its south-west and north-west corners, which was needed to allow the nearly 90 degree turns between the peaked rooftops of the huge assembly buildings it ran atop.

Today, the factory and portions of the test track still exist in varying degrees of disrepair

[50 -52] Fac tor y roof top test track current state

El Palacio Chrysler rooftop track Buenos Aires - Argentina

In 1928, five years after Fiat opened their

71

Lingotto plant, Chrysler’s Argentine distributors opened a building to assemble, test, sell and race cars in Buenos Aires.

The building was designed by Mario Palanti and occupied an entire city block. But it was the roof that was the eye-catcher. Equipped with a test track of 1.6 kilometre, it was used for testing cars and inviting the high society of Argentina to look at them. In the late nineties the building was converted into apartments.

[53-56] Roof top track Chr ysler 1928

Renault Centre

by Foster Architects

72

The Renault Centre is a high tech-building

housing both production and office workers in

in Swindon commissioned by the French car

relatively undifferential spaces.”35

company Renault for their UK operations.

Designed by Foster Associates, it opened in

“Modernism preaches standardization and mass-

1982 and eventually Renault moved out in 2001.

production on a global scale, the standardization at Renault is confined to small batch production

The architecture expressed not only the corporate

of the buildings’ own systems.”36 The structural

ownership with the yellow of Renault used on

engineer was Ove Arup & Partners. The cable

all the structural elements, but also promoted

stayed steel structural system provides a 24m.

a modern statement on industrial relations by

column clear zone, with the columns of only

using the same roof over the warehouse and

450mm diameter.

office elements, making no distinction between white- and blue-collar workers. “Out went the

The Renault Centre showed that the Modernist

usual ‘white collars’ workers office box on the

dream of machine production in architecture is

front and ‘blue collar’ workers ‘tin shed’ at the

finally within reach.

back, to be replaced with a unitary structure

73

[57] Construc tion principle [58] Construc tion principle [59] Construc tion [60] Interior Renault Centre [61] Renault Centre [62] Renault Centre

BMW central building

by Zaha Hadid architects

74

Hadid’s BMW Central Building, which was

Levete believes that the integration of the

completed in 2005, connects three separate

production

production buildings on the manufacturing

administrative facilities broke down barriers

complex of BMW in Leipzig.

between blue- and white-collar workers.

The building contains offices, meeting rooms,

“She took a very complex brief – and I think

and management and administrative staff, but

Zaha was at her best when she had a very

also features a large elevated conveyor that

complex programme to deal with – and totally

moves cars through the building every day from

turned it on its head,” says Amanda Levete.37

one production complex to another.

line

with

management

and

75

[63] [64] [65] [66] [67]

Ground floor plan Interior BMW Central building Interior BMW Central building Assembly line Ex terior BMW Central building

GM Technical Center

by Eero Saarinen

76

In May 1956 inauguration took place of the colossal General Motors Technical Center in Warren, Michigan, designed by Eero Saarinen.

Saarinen convinced that the Center should be an expression of mass production, high precision and metal industry. Saarinen felt his design concept should be “based on steel - the metal of the automobile,�38 according to his wife, Aline.

Like the car itself, the buildings are arranged together, as on a mass-production line, The Center was a pinnacle in innovative techniques;

neoprene

gaskets,

porcelain

spandrels of sandwich construction, and innovations of curtain wall design.

General Motors and Saarinen had set a new standard for industrial architecture.

[68] Lobby [69] Design Dome GM [70] Water tower [71] Entrance

77

78

79

PA RT T WO TH E i n q u i ry

80

81

PA RT T WO B r u s s e ls

Europe governed from Brussels

82

Brussels, officially named the Brussels-Capital Region is a region of Belgium comprising 19 municipalities, including the City of Brussels which is the capital of Belgium. The BrusselsCapital Region is part of both the French society of Belgium and the Flemish society.

Nevertheless, Brussels is separated from the

BRUSSELS 1.2m people

region of Flanders or Wallonia. The region has a population of 1.2 million and a metropolitan area with a population of over 1.8 million, the largest in Belgium.

Brussels hosts the official seats of the European Commission, Council of the European Union, and European Council, as well as a seat of the European Parliament. “Traffic congestion analysis consistently shows a surprising fact: Brussels and Antwerp, the

BELGIUM 11m people

two largest cities in Belgium, are the two most congested cities in Europe and North America.

This was confirmed in the latest ranking from

BELGIUM 11m people

Inrix, a traffic data organisation. It is estimated that drivers in Brussels waste 83 hours a year in traffic. How did the administrative heart of the European Union get into this traffic mess?

Company car, people live too far from work, unattractive alternatives, a healthy economy and an ill-conceived road network.�1 So, this seems to be a fitting place to start a Future Mobility Center.

EUROPE 510m people BELGIUM 369 people / km2

[2] Statistic s Europe [3] Map Europe

83

BRUSSELS

ATOMIUM

84

BUSINESS DISTRICT

CITROËN YSER STATION BRUSSEL NOORD

‘GROTE MARKT’

EUROPEAN UNION

ROYAL PALACE

MUSEUMS

UNIVERSITY CAMPUS

AUDI CARS FACTORY

Brussels the ‘heart’ of Europe

AIRPORT NATO

Since the end of the Second World War, Brussels

institutions are located within the European

has been a major centre for international politics

Quarter of Brussels. From the 19 century the

and has become the home of international

Francization of Brussels started. Nowadays,

organizations,

diplomats.

Brussels-Capital-Region is an officially bilingual

Brussels is ‘the capital’ of the European Union

enclave in the Flemish Region. All road signs,

as it accommodates a large number of EU

street names and services are shown in French

institutions. The secretariat of the Benelux,

and Dutch. Brussels is becoming multilingual

Eurocontrol and the headquarters of the

with increasing numbers of migrants, expats,

NATO are also located in Brussels. Most of the

speaking their own languages.

politicians

and

th

foreigners non-EU 11%

foreigners EU

23%

66%

belgiums

1 out fo 3 inhabitants is foreign

french & dutch dutch other [4] Over view Brussels [5] Statistic s Brussels

17%

38%

5%

17%

23% french & other

french language

85

Brussels

86

Juxtaposition Brussels itself, a mix of industry, offices, culture and housing. Not in specified areas, but in a mix scattered throughout the city. The same applies for the area around CitroĂŤn Yser. The structure of this area started with the construction of the Canal which largely contributed to determine the use of this land and its later development. It is blend mingle of industry, offices and housing.

There is still a few small industries in the Food domain, the Automobile domain, and other small activities which doesn’t necessarily have a great impact on the area. On the other hand, large industries in the Logistics and the Construction domains remain heavily present.

Canal Area

BRUSSELS

BRUSSELS

BRUSSELS

BRUSSELS

Events like Festival Kanal and PleinOPENair organize their festivals around the channel in summertime. The only currently visible waterway in Brussels is slowly evolved. With new bridges and parks, a shopping mall, a large residential tower and possibly even a new marina. The old industrial area along the canal is developing into an attractive meeting place.

[6] Jux tapostion in func tion, architec ture, morphology

87

CITROËN YSER BRUSSELS

1.400m GROTE MARKT BRUSSELS

HISTORIC CITY CENTRE OF BRUSSELS

[7] Distance Citroën Yser to the centre of the historic cit y of Brussels - 1:20.000

88

[8] Jux tapostion of func tions, architec ture, morphology [9] Aerial map - location CitroĂŤn Yser Brussels

89

CITROËN YSER

Urban development 1930-2015

90

1930 - 1935

1944

1953

1971

1996

2015

[10] Aerial photograph - Urban development - 1930 -2015

1930 - 1935

1944

1953

1971

1996

2015

[11] Aerial photograph - Urban development - 1930 -2015

91

92

PLACE SAINCTELETTE

PLACE DE L’YSER

[12] Place de l’ Yser before the construc tion

93

CITROËN YSER BRUSSELS

[13] Aerial view bet ween 1933-1935

94

south east

south west

[14] three-dimensional view - south east [15] three-dimensional view - south west

95

nor th west

nor th east

[16] three-dimensional view - norht west [17] three-dimensional view - noth east

CITROËN YSER 96

DEVELOPING CANAL AREA

CENTRAL BUSINESS DISTRICT RESIDENTIAL

HISTORIC CITY CENTRE

[18] location [19] program

SIMONIS (LEOPOLD III)

SIMONIS (ELISABETH)

RIBACOURT

BRUXELLES NORD

YSER IJZER ETANGS NORIS ZWARTE VIJVERS

ROGIER

COMTE DE FLANDRE GRAAF VAN VLAANDEREN

BOTANIQUE KRUIDTUIN

BOURS BEURS

ST-KATELIJNE STE-CATHERINE

PORTE DE NINOVE NINOOFSEPOORT

HISTORIC CITY CENTRE N-WEGEN [20] public transpor t [21] main roads

BRUXELLESCONGRES

97

98

[22] Aerial over view around CitroĂŤn Yser

99

100

CI TR O Ë N YS

101

E R B R U S S E LS

102

[24] Adver tisemt CitroĂŤn with a drawing of what the garage should have looked like [25] Cover design of the CitroĂŤn journal

103

[26] Original drawing showing the original colors of the garage [27] Original drawing at night of how the building should have looked like

104

[28] Construc tion of the salle d’exposition in 1933

105

[29] Construc tion of the hall in 1933

106

[30] Construc tion of the showroom [31] Construc tion of the faรงade - Quai de Willebroeck

107

[32] Construc tion of the exhibition hall [33] Construc tion of the exhibition hall

108

[34] Exhibiton hall [35] CitroÍn 2CV ’s in front of the building

109

[36] 2CV ’s & helicopter in front of the workshop [37] 2CV ’s & helicopter in front of the workshop

110

[38] Storage of CitroÍn Trac tion Avant ’s [39] Hall during construc tion

111

[40] Spare par ts warehouse [41] Assembly

112

[42] ‘ Viaduc t van Koekelberg’ & Citroën Yser - 1960s [43] Exhibition hall - 1970s

113

[44] Finished exhibition hall in 1934 [45] Exhibition hall today

114

[46] Entrance Quai de Willebroeck - 2016

115

[47] ‘Cathedral’ - 2016

116

[48] Exhibition hall at night - 2000s [49] Canal side - 2000s

117

[50] Canal side - 2016 [51] Other side of the canal - 2000s

118

119

120

[53] Current construc tion of the exhibition hall

121

[54] Build-up of the struc ture

122

[55] Construc tion principle

123

[56] Comparison of the workshop hall in the 1930s and now [57] Comparison of the exhibition hall in the 1930s and now

124

125

PA RT T WO I N Q UI RY: CO N STR U CT IO N O F CA R S

Construction of Cars Observe the ‘architecture’ of cars for architecture

126

monocoque [59]

‘skateboard’ [60]

ladder chassis [61]

self supporting body [62]

aluminium ssb [63]

tube frame ssb [64]

127

128

129

PA RT T WO P R og r a m m i n g a futu r e m o b i l i t y c e n te r

50 m

130

[66] programmatic possibilities

Inquiry into the program

An inquiry into programming a cultural

•

Subsidised vs. non-subsidised program

empty car plant, a mix of program in the direct

program. How will I come to a program? How

•

Time, how to plan the execution of the

context, cultural program, automobile industry,

design

a university and historical city centre. So why

Money, how to find money and funding for

not come up with something is an addition to

the project

the cultural significant historical city centre,

Organization – client & project

almost competing with it. A program that

can I connect the site on a local and global scale to determine the cultural program interweaving

•

on all scales. Ranging from a Local Regional National International, maybe even a Global

•

scale. Search for your target group. Which functions are already there, in the city centre

represents the future.

Thoughts and directions for the Program

and the outskirts of the city? Also regarding the

In May I cycled back home from a day of work

following aspects:

The former Citroën workshop is located in

in the graduation studio and I ran into a Tesla

•

Non destination visitors vs. Destination

the heart of Brussels, it could be interesting if

Models S. The most popular electric car of the

visitors

the location is to be developed into a 24 hour

moment and it hit me. Why not transform my

Trying to found out an around the clock

economy, crowds leaving the restaurant or club

former Citroën dealership and service centre

program, especially if a building site is on a

would meet the workers on their way to work in

in Brussels into some sort of Future Mobility

more remote location. 24hr city?!

the early hours.

Center (by Tesla, funding) where you can have

•

•

Public versus a private program

•

Paid vs. free functions, a program that is

conventions, Potential program

presentations,

performances,

exhibitions, research and retail. All centred in

accessible to everyone to experience the

one ‘campus’ in the middle of the ‘capital of

building without paying for it. A public

If we take several aspects together we could

Europe‘ in a workshop that was once the space

route through private functions.

arrive at a reasoned program. We have an

of the most innovative carmaker in the sixties.

Working together to solve a complex issue

Catalyst for innovation

Stakeholders within EU

PUBLIC AWARENESS

Open exchange of data

Working together on every level

BUSINESS RESEARCH EDUCATION GOVERNANCE PROMOTION

[67] programmatic concept

All kinds of mobility Different approaches bring countries, cities Science and business meets

131

Program programming a Future Mobility Center

MOBILITY PLATFORM TO DEMONSTRATE THE LATEST MOBILITY, INVENTIONS & PROTOTYPES FROM START-UPS TO THE WORLD’S MOBILITY/TECH TITANS

WINDOW INTO THE FUTURE

CONNECTIVITY

COMMUNITY 132

HUMAN PERFORMANCE CENTER

We notice that a complex problem like our

INTERACTIVE DESIGN STUDIO

future mobility can only be resolved by working

DRIVING SIMULATOR

as a collective. A partial solution is simply not

TESTING THE LATEST INVENTIONS AND PROTOTYPES

good enough. Together we can make it work.

TRACK

There should be an accelerator.

EXPERIENCE THE LATEST MOBILITY, INVENTIONS & PROTOTYPES

To make electric cars / mobility a success,

TESTING

TRIBUNE

you need to work together on multiple levels.

PODIUM, PRESENTING

Governance, infrastructure, power companies,

LABS

manufacturers and academia. The main aim of the complex is to fully integrate display, learning and exhibition functions in combination with

OFFICES

R&D

a research and development and production facility to strengthening the links between the

TESTING THE LATEST INVENTIONS AND PROTOTYPES

STUDIO SPACE

centre and the city.

DESIGN STUDIOS WITH UNIVERSITIES, COMPANIES AND RESEARCH PARTNERS

WORK SHOPS

The next two pages contain collages, explaining E-mobility, the part of experience inside the

SPECIALIZED WORKSHOPS

complex

BUILDING PROTOYPES

PRODUCTION FACILITY OFFICES

R&D WINDOW INTO FUTURE

Connectivity

Community

Mobility

LOADING DOCKS

EXPERIENCE

SHOW CASE

PRODUCTION PRODUCTION

SHOW ROOM

TESTING

€€€ FOR RENT PUBLIC TALKS & EVENTS

SELLING €€€

CONFERENCE CENTRE OPEN OFFICES

R&D €€€ FOR RENT

EXPERIENCE

SHOW CASE

PRODUCTION

PRODUCTION PRODUCTION

TESTING

BOARD ROOMS TRAINING

ADVANCED COURSES SPECIALIZED WORKSHOPS

HORECA CLUB PANORAMA VIEW

[68] programatic concept

[69] program

HORECA

PANORAMA VIEW

WORK SHOPS PRODUCTION FACILITY

COMMUNITY

STUDIO SPACE

PODIUM, PRESENTING

CONNECTIVITY

OFFICES

CLUB

MOBILITY

LABS

TRIBUNE

SHOW ROOM

HUMAN PERFORMANCE CENTER

INTERACTIVE DESIGN STUDIO DRIVING SIMULATOR

OFFICES TRAINING LOADING DOCKS

CONFERENCE CENTRE

BOARD ROOMS OPEN OFFICES

[70] track connec ting the program

MOBILITY STATIC & INTERACTIVE & CREATE

CONNECTIVITY CONNECTIVITY IS BECOMING SECOND NATURE MOBILITY PART OF YOUR DIGITAL LIFE

COMMUNITY

EXPLORE NETWORKING EVENTS PITCH EVENTS LEARNING TALKS FROM THE PEOPLE THEMSELF

[71] ‘window into the future’ scheme

133

Welcome to the future, all

134

You can become part of this future with E-MOBILITY now!

Getting in something that is a spaceship, it was sitting in the future

Window into Future

A smartphone on wheels

Entertainment

Connectivity

[72] window into the future [73] connec tivit y

A smartphone on wheels: here’s how tomorrow’s intelligent vehicles work

Progress, becoming part of the mobility of tomorrow

Mobility

Communication / gathering and exchange about use/ownership, socially engaged

The 2015 edition had 225 electric vehicles driving a total of 42.800 km and emitting 0.0 g/km of CO2.

Community

[74] mobilit y [75] communit y

135

Constructing a track an element of thrill

136

Every part of the building has a different

watch cars being flogged around you, making

relationship with the test- and racetrack.

some points in the complex an exciting resting

Wherever you are, you will have a new view on

spot. The track is a path through and around

the course. Around every corner you will find a

spaces and volumes of the building designed

new view. A view to allow the public to sit and

with the aim to offer an aesthetic experience.

[76] Por traying BMW track on the original 1933 plan

137

[77] Relation to the track

138

139

PA RT TH R E E D E SIG N

140

[1] Collage

The problem statement finalizing the research question

141

The choice of Citroën Yser as the building

it for the 21st century. In our recent history,

electric vehicle (EV) experience. Pam Fletcher,

to transform and design into a public Future

factories - places for manufacturing, shaping

Chief Engineer for EVs at General Motors (GM)

Mobility Center forms the next part of its

and assembling - were an integral part of our

explains: “The people that have owned and lived

ongoing reconstruction. The new building

towns and cities. Our towns and cities often

with EVs can understand it, they’ve seen how

should, however, include replacements for the

grew up around them as workers, owners and

the vehicles work for them. It is part of the

demolished facilities.

the machinery were based in close proximity to

learning curve and more people will understand

each other. Factories were an integrated part of

it over time. It’s hard to explain to people the

Industry is being replaced by ‘culture’. The aim

our living environment. They created jobs and

benefits if they haven’t had that experience.”

of the Future Mobility Center is to be both a

generated an urban economy.

location for research and production while,

The challenge of the Future Mobility Center

at the same time, offering a public cultural

Today, all those factories have left the city.

is to offer a functional blend of culture,

experience. These functions will be included in

Moving to low-wage countries. This has changed

manufacturing and capitalism. This has resulted

the building’s ambition to announce its factory-

the dynamics of the once thriving cities, by

in the following problem statement:

related functions to the public, with the aim of

eliminating the process of manufacturing from

persuading the public of the benefits of future

the everyday lives of the people.

How can a new mobility institution provide space for urban manufacturing, such that the public

mobility, and electric mobility in particular.

The aim of the Future Mobility Center is to A factory or industrial building, can form a part

showcase and enable the public to experience

of our cities. And it is something to celebrate.

electric mobility. One certain way to get the

Provided, that is, that we are able to restyle

e-mobility message across is to give people an

can experience the future of mobility?

Transformation strategies

142

PRESERVATION

PRESERVATION

POINT ZERO

+ NEW ADDITION

BOX IN BOX - EXTERIOR INTACT

BOX IN BOX - EXTERIOR INTACT + NEW ADDITION

RESTORE EXTERIOR

RESTORE EXTERIOR + NEW ADDITION

INTERPRETER OLD FACADE IN NEW FACADE

INTERPRETER OLD FACADE IN NEW FACADE + NEW ADDITION

+ NEW ADDITION

NEW

[2] Transformation strategies

[3] Transformation strategies

Early mass studies

143

[4] Early studies

144

EXPERIENCE

MEETING

PRODUCTION

R&D SHOW CASE

TESTING

LEARNING

OPEN ROUTE ‘SHOWCASING’

CROSS REFERENCE BETWEEN DISCIPLINES

[5] Diagrams of concept & program

STREET OF THE FUTURE

145

EXPERIENCE

MEETING

PRODUCTION

FUTURE EXPANSION

R&D SHOW CASE

TESTING

LEARNING

EXPANDING TOWARDS THE FUTURE

POSSIBILITIES

[6] Diagrams of program planning

POSSIBILITIES

Concept

146

E-MOBILITY IS THE FUTURE AND COOL!

PU

[7] Concept

The first toss at a concept. The Future Mobility Center should display itself as a shopping window, like a shop in a city centre. Promote its

PROMOTION

goods inside the shop. Furthermore, the aim of the building should be to create awareness for electric mobility

PROMOTION

PUBLIC AWARENESS

147

Diagrams

148

Confrontation EXPLORATION

technology

JOURNEY

Community

COMMUNITY

Window into Future

Mobility Connectivity

Confrontation

ELECTRICITY

Electricity

Community Window into Future

Mobility Connectivity Electricity

Communication / gathering and exchange about use/ownership, socially engaged

The 2015 edition had 225 electric vehicles driving a total of 42.800 km and emitting 0.0 g/km of CO2.

TESTING

Community e, all e futur

e to th

om Welc

s rt of thi me pa Y now! n beco BILIT You ca th E-MO wi t is a future ng tha future methi the g in so ting in Gettin , it was sit hip spaces

w into

Windo A smartphone on wheels

PRODUCTION EXPERIENCE

A smartphone on wheels: here’s how tomorrow’s intelligent vehicles work

Future

Progress, becoming part of the mobility of tomorrow

Entertainment

Mobility

Connectivity

R&D SHOW CASE

R&D WINDOW INTO FUTURE

Connectivity

EXPERIENCE

Community

Mobility

SHOW CASE

[8] Various diagrams

PRODUCTION PRODUCTION

TESTING

EXPERIENCE

PRODUCTION PRODUCTION

TESTING

In July and August, the amount of diagrams got a bit out of control. Nevertheless, they helped to derive the concept, program, routing and spatial The left page explores the program, especially to grasp the essence of E-mobility, by taking it apart in different subjects. Through translating these collages and 2D diagrams into 3D diagrams, it gave me reason to explore this in the architecture of my design. While designing, these diagrams were always in the back of my had.

The diagrams on the bottom of these pages

CONNECTIVITY R&D

EXPERIENCE

of the production and labs beneath.

THE FUTURE NOW!

CONNECTIVITY

TESTING

WINDOW IN THE FUTURE

MOBILITY

PRODUCTION

community as separate volumes in one, on top

WINDOW IN THE FUTURE

COMMUNITY

SHOW CASE

of E-mobility, in connectivity, mobility and

MOBILITY

COMMUNITY

are the closest to the final design. The world

SHOW CASE

PRODUCTION

TESTING

R&D

EXPERIENCE

THE FUTURE TODAY

WINDOW INTO FUTURE

Connectivity WINDOW INTO FUTURE

WINDOW INTO FUTURE

Mobility

Future

R&D SHOW CASE

[8] Various diagrams

EXPERIENCE

PRODUCTION PRODUCTION

TESTING

149

150

Display of all the different types of e-mobility transportation subjects. Portrayed behind the buildings’ facade as a continuous motion and theatre, happening right behind the facade.

[9] t ypes of e-mobilit y

151

152

O N C E TH E SYMBOL O F I N N OVATI O N

1933 [10] Cutaway Citroën DS [11] Original drawing Citroën Yser

153

TH E N E W SYMBOL O F F UTU RE TE C H N OLOGY & I N N OVATI O N

2017 [12] Cutaway BMW i3 [13] Future Mobilit y Center

154

155

PA RT TH R E E FU TU R E M O BI L I T Y C E N TE R

156

[15]

[16]

[17]

Transformation

157

[18]

Figure 15-16-17 shows three images of the ‘Low

How can we propel this building into the

space for the new elements, which have been

Drag GT’. The aim of these images is to explain

twenty-second century? Firstly, by restoring

designed to signal and effect change! To reflect

the transformation concept in an analogy

the exhibition hall back into its original

the new spirit of age and the future of mobility

between the building and the car. Essentially, the

condition. To once again show its dimensions

while, at the same time, retaining the three-

Low Drag GT is a car with modern technology

and impressive structure. Yet, at the same

dimensional record and maintaining a degree

beneath a classic-looking body from a sixties

time, to use the exhibition hall in a new way,

of history. Rejuvenating the existing halls, while

E-type. This is, in essence, the transformation

by implementing annual installations in this

maintaining their industrial legacy and spatial

concept for Citroën Yser. Modern architectural

stunning ‘cathedral’, dedicated to electric cars.

qualities. Both a continuation and change. A

elements inserted into a breathtakingly classiclooking building.

venue of experience and exhibitions, above the Secondly, the enormous workshop connected

home of research and production.

to the showroom: this workshop has the As architects, we can help divide, keep and

same dimensions and impressive structure as

Expressed as a whole, the combined components

transform our industrial heritage buildings. We

the exhibition hall. A cloisters-like corridor

of the Future Mobility Center: the old Citroën

also have the ability to decide what not to do.

connects the north entrance with the showroom.

Yser and the new elements, now come together

Over the past 85 years, Citroën Yser has been

The east and west entrances are connected in

as one functional and cultural and commercial

subjected to several transformations. It has

the same way, by a perfectly formed corridor. By

whole.

filled since 1933. The glory days of the thirties

preserving these two corridors, three ‘perfect’

and forties are now long-gone.

quadrangles arise. These are removed, to make

Elements

158

[19]

Functions

‘Window into the future’ 159

Mobility Connectivity Community Exposition space Experience center

Tower Panorama view Restaurant Club ‘Electric’ Data space High-end office Design Studio

Research & Development Office: 120 Flex work places Meeting rooms Presentation space

Automobile circulation

Production 4 Assembly lines Storage space Loading docks

Conference Conference room +/- 300 Attendants Automobile podium Foyer

Research & Development Facilities Toilets Elevators Escape routes

Showroom Sale Expo

Labs: Environmental testing Climate tests Driver enhancements Intelligent mobility [20]

The structure of the building consists of a range

hovers between the buildings. Each quarter is

the two directions of the canal. The new ‘icon’

of functions that are distributed in the former

deepened to house the function of ‘production’

of the Future Mobility Center serves as the

Citroen workshop hall. The hall is subdivided in

and ‘physical research’.

In each quarter, a

main circulation hub in the arrangement. On

three quarters by the two leading and preserved

building object and program is situated, that

top of the circulation, a commercial program

corridors. The prior connecting function

is accessible through one of the corridors. At

is positioned, which provides a good view over

between all buildings is the track, which

the edge of the building plot, the tower faces

one of the most congested city in the world

Track

160

[21]

The prior connecting function between all parts

attract both destination - as well as random

track is always around the corner. Spatial in a

of the building is the race and test rack, that

and accidental visitors it demands a ‘powerful

sensational way. An unfolding journey.

‘hovers’ in space. A path through and around

element of experience’. Visitors can experience

Racing has made innovations possible for

spaces and volumes of the building designed

the testing in and off the track. See it, smell it,

vehicles for the last 100 years. A platform and

with the aim to offer an aesthetic experience.

‘hear it’, feel it. By connecting the track to all

evolutionary path. On to the next 100 years

As it is the Future Mobility Center aim to

buildings, through, under or over them. The

Pedestrian walkway

161

Walkway conference entrance escalator

Walkway main entrance elevator

[22]

The second connection between all elements in

The walkway is an internal public space inside

left bottom corner. Thereby connecting the

the complex is the pedestrian walkway, hovering

the different buildings. And an external public

‘Window into the future‘ building, the Research

and just crossing above the track.

space between the buildings, connecting them,

and Development office and the tower.

It connects the conference hall, ‘R&D’ office,

with a splendid view on the test track. The

By crossing the bridge from one building to

showroom, the tower and the exhibition and

pedestrian walkway is reached by the escalators

another, visitors are always confronted with

experience ‘Window into the Future’ building.

in the conference center or the elevators in the

other activities taking place.

Production & Labs

162

5 assembly lines for concepts, prototypes and pre-production

loading dock

Battery lab Emission lab Acoustic lab Climate lab

Facilities Toilets Facilities

Elevators Escape routes

Toilets Elevators Escape routes [23]

The production on the lower floor of the

and development in the field of future mobility

intelligent mobility. Two blocks of facility are

building houses the production of prototypes,

to come closer to our aim of making electric

added to the plan, to provide toilets, showers,

concepts, pre-series and student projects from

and autonomous mobility part of our everyday

elevators and escape routes, on top of the

universities.

lives. In the labs different activities can be

facilities in the WITF, office and Conference

The lab makes it possible for both academia,

tested: battery experiments, environmental

Center.

governance and industry to intensify research

testing, climate tests, driver enhancements and

Urban

163

Entrance Quai de la Voirie

Entrance cars Quai de Péniches

Entrance cars Quai de Willebroeck

Charging stations Main entrance Place de l’Yser

[24]

The inner street is connected to the road

the historic city centre of Brussels. The opposite

the levels -1 and 0. Members of the conference

network of Brussels. A place to charge you

entrance is located at the Quai de la Voirie,

joining the lecture, enter the conference room

electric car. The public route crosses underneath

adjoining the ‘Northern Quarter, Brussels’

on the third level. They experience an inner

the inner road to separate the pedestrians and

Business district.

view of the cars racing behind the retractable

electric cars. The main entrance is located in the

The Conference Center can be reached by the

glass doors, as a decor, or to open and welcome

exhibition hall at the Place de l’Yser, adjacent to

escalators which connect to the inner street on

the cars of the future through the doors into the

Total

164

[25]

conference room.

The Exhibition and Experience Center consists

track or a view overlooking the whole complex.

The third level of the office block is cut open

of four L-shaped floors, where every exhibition

The combined elements of the Future Mobility

to connect to the public walkway, in this way it

floor is turned 90 degrees to take the visitor on

Center, old and new, to be expressed as a whole,

creates a resting point to overlook the complex,

a (manufacturing like) tour to the top of the

to have them come together as one. City of

and a close view on the track, which runs

building. Every floor of the building has its own

experience, exhibition and excitement above the

through the middle of the office.

outside space for a close by view on the test

city of production and research.

Tower & Roof

Tower panorama view restaurant club electric

‘WITF’ quarter

165

EFTE-roof design Steel girders

office storage design studio

circulation

‘Conference’ quarter

‘R&D’ quarter

Polycarbonate roofing sheet Steel girders

Steel lamellae Glass panels

[26]

The tower acts as billboard, casts a shadow to

offices, storage space for the data that is gathered

to an image of a factory. A factory once was a

feel the Future Mobility Centers’ presence in

in the Center, and a design studio, where light

manifestation, celebrating technology in the

Brussels. It accommodates a panorama view,

casts from all angles. The base of the tower acts

modern age. In the new age, the tower portrays

restaurant and a club, named ‘electric‘, thereby

as the main circulation for all vehicles that are

an image of a 21st century factory, with a

turning the center into a 24hr economy.

moving throughout the Center. The Future

reference to the factories in the spirit of the age

Furthermore it consists of high-end rental

Mobility Center should have a resemblance

of industrial revolution.

166

[27] Buildings

[28] Pedestrian walkway

167

[29] Test track

CIRCULATION

RESTAURANT

CLUB PANORAMA

BILLBOARD OFFICE $$$

STORAGE

LOADING

PRODUCTION EXPERIENCE PUBLIC LOOKOUT

WINDOW INTO THE FUTURE

PUBLIC LOOKOUT

OFFICE R&D

STUDIO SPACE

[30] Program

WORKSHOPS

LABS

168

169

PA RT FO U R TH E R E S U LTS

170

171

Future Mobility Center

172

173

Future Mobility Center - East West Corridor

174

175

176

177

178

179

180

181

182

183

Basement - Scale 1:250

184

UP

185

UP

Ground floor - Scale 1:250

186

187

Level 11m. - Scale 1:250

188

189

Elevation Nor th West - Scale 1:250

190

191

CON TR ACK FE R E NCE

192

Track

193

‘TESLA CURVE‘ 75 km/h +2

‘TURN AROUND‘ 30 km/h

194

+1 +3

60 km/h

‘SHOW US WHAT YOU GOT ‘ 65 km/h 0

‘CATHEDRAL STRAIGHT‘ up-to 160 km/h

Track Layout

80 km/h +1

195

‘THE CHICANE MAZE‘ +0.5

+2.5

‘START / FINISH‘

‘ELECTRIC CURVE‘ 40 km/h +0 +3

+3

‘THE NICOLA STRAIGHT’ 110 km/h

‘200 STRAIGHT‘ up-to 180 km/h

‘SWING BY THE OFFICE‘ 40 km/h

196

197

CON FERR E NCE TOWE

198

A xonometric view

199 66800

62500

57500

52500 51000

47500

42500

37500

32500

27500

22500

17500

10500

7000

3500

0

-4500 -4500

Scale 1:400

200

201

Restaurant Tower

202

A xonometric view - construc tion

Technical space

66.5m

Panorama

62.5m

Restaurant

57.5m

Facilities

54.5m

Club ‘ELECTRIC’

47.5m

Office

42.5m

Storage

37.5m

Office

32.5m

Storage

27.5 m

Design Studio

21.5m

A xonometric view - construc tion

203

204

205

Tower at night

206

207

WIN DOW INTO TH E FUTU RE CON FE R E NCE

208

A xonometric view - Level 1

A xonometric view - Level 2

209

A xonometric view - Level 3

A xonometric view - Level 4

210

211

Window into the Future

212

A xonometric view - Construc tion ‘ Window into the Future’ building

213

214

215

CON FE R E NCE

216

A xonometric view - Level 0

217

A xonometric view - Level 1

A xonometric view - Level 2

218

219

Conference Center

220

221

CON FE R E NCE R&D

222

A xonometric view - Level 1

A xonometric view - Level -1

223

A xonometric view - Level 2

A xonometric view - Level 3

224

225

Conference Center

226

227

SHOWROOM

228

A xonometric view - installation possibilities

229

A xonometric view - installation possibilities

230

231

Showroom

232

REFLECTION

Eleven months ago, January 2017 seemed so far away. Yet, here we are. And I’m delighted, and relieved to be presenting you my graduation project. The first semester of my master’s programme offered the opportunity of studying the phenomena ‘transformation’, ‘industrial site’ and ‘cultural identity’ in an architectural context. This research project has taken me to truly amazing Citroën Yser showroom & workshop in Brussels.

It did not take long to find a main cause: E-mobility. The function of my building has been derived from its history, its context and its hardware. This history has continued in the spirit of André Citroën, one of most innovate carmakers of the nineteen sixties. The proposed transformation is an addition to the city, rather than in competition with the existing buildings of Brussels. The ‘hardware’ is closely related to the car, and constructed specifically with this in mind. Over recent decades, mobility has experienced enormous transformations.

233

& CONCLUSION

Currently, it affects considerable numbers

manufacturing facility, and its latest state.

Both the programme of the building and the

of people worldwide, in both a positive and

Making the building both a ‘factory’ and

proposed design solutions embrace theories

negative way, posing the question of how can

‘cultural venue’.

by the Swiss-French architect Le Corbusier

we show and enable people to experience their future of mobility.

concerning the ‘carchitectural promenade’: To what extent is it possible to create a cultural

incorporate the path of the car into the

venue in this way?

Activities in a cultural

architectural circulation and his desire to

In my search for the answer, I examined the

city range from conception, to production,

implement carmakers’ technology into his

current culture of e-mobility. The result has

to consumption. The Future Mobility Center

buildings. The proposed design of ‘the track’

been the discovery of a surprising refreshing

is, in essence, a small cultural city, covering

resembles the Fiat Lingotto Factory in Turin.

combination of emotions.

e-mobility from its conception, through its

The track is trying to live up to the celebration

production, to its consumption.

of speed and dynamism from the nineteen

The arguments in favour of e-mobility show

twenties. A path through, and around spaces

an image of emotional desires; love and

Is this building a factory? The function of a

and volumes of the building, designed with

enthusiasm. People are excited about their

building type that once was thriving in its

the aim of offering an exciting experience. An

electric cars. The environmental cause functions

innovation, now needs to be reconsidered.

element of thrill. An element of beauty.

in the background, while institutions and

Bringing the cycle of manufacturing and

governance focus mainly on the green benefits

consuming back into the city centre. The Center

The Future Mobility Center has been designed

of electric cars.

represents the ‘consumption of production’. The

to act as an important societal link, reflecting

building thus engages with the public regarding

our current culture of e-mobility and at the

This melting pot of ideals, policy, culture and

manufacture, by displaying its manufacturing

same time, giving visitors and users a glimpse

emotions resulted in the desire to design a

process. It is a city centre building, a cultural

of what lies ahead: for them and for society. The

Future Mobility Center: a building typology in

monument and a car production plant.

building celebrates both the opportunities and

which the public meets the actual e-mobility

the challenges that lie ahead.

234

235

ACKNOWLEDGEMENTS

There are some people to whom I wish to express my gratitude. This graduation project would not have turned out as it has without their contributions.

My graduation Tutors; David Gianotten, Maarten Willems & Barbara Kuit, for sharing their valuable thoughts within this graduation studio.

My fellow students in this graduation studio, who helped me see clear, laugh, drink, cry and progress at times it seemed impossible.

My architecture study friends who have been there during my study, and I hope to keep on seeing, practising architecture.

My parents, whom always supported me, during my architectural education at the Eindhoven University of Technology.

236

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PA RT F I V E SO U RC E S

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238

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Notes

240

PART ONE - RESEARCH 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

26.

27.

28.

29.

30.

31.

32.

33.

34.

35.

36.

37.

38.

Bollack, F. (2015) Old Buildings, New Forms.

Van Schaik (2015) With Love, Gerard & Anton.

Bollack, F. (2015) Old Buildings, New Forms.

Koolhaas, R. (2015). Rem Koolhaas on Prada, Preservation, Art and Architecture.

TICCIH (2006) The Nizhny Tagil charter for the industrial heritage.

TICCIH (2006) The Nizhny Tagil charter for the industrial heritage.

BOEI. (2016) Industrieel Erfgoed.

TICCIH (2006) The Nizhny Tagil charter for the industrial heritage.

Encyclo. (2016) ‘Industrieel erfgoed’.

TICCIH (2006) The Nizhny Tagil charter for the industrial heritage.

Koolhaas, R. (2014) 2014 Venice Biennale.

Van de Weijer, B. (2016, October 13) De Snoek van onze tijd. De Volkskrant.

Van de Weijer, B. (2016, October 13) De Snoek van onze tijd. De Volkskrant.

Purba, N. (2016) Movement disrupted.

Purba, N. (2016) Movement disrupted.

Purba, N. (2016) Movement disrupted.

Will, G. (2016) Can automakers redefine mobility again?

Shahan, Z. (2014) The Other #1 Reason Why Electric Cars Will Dominate The Car Market.

Tesla Owner (2014) Tesla Customer stories.

Tesla Owner (2014) Tesla Customer stories.

Seba, T. (2016) Electric vehicles will soon be cheaper than regular cars because maintenance costs are lower, says Tony Seba.

Tesla Owner (2014) Tesla Customer stories.

Gibson, C. (2016) Why do they love electric cars in the Arctic Circle.

Tesla Owner (2014) Tesla Customer stories.

Shahan, Z. (2014) The Other #1 Reason Why Electric Cars Will Dominate The Car Market.

Bayley, S. (1987) Sex, Drink and Fast Cars.

Le Corbusier (1927) Toward a New Architecture.

Le Corbusier (1927) Toward a New Architecture.

Amado, A. (2011) Voiture Minimum.

Le Corbusier (1927) Toward a New Architecture.

Banham, R. (1960) Theory and Design in the First Machine age.

Glancey, J. (2002) The Guardian: Dream Factory.

Bisset, C. (2015) Iconic Buildings: Fiat Factory, Lingotto.

Bisset, C. (2015) Iconic Buildings: Fiat Factory, Lingotto Abel, C. (1991) Renault Centre, Swindon 1982, Architect: Norman Foster.

Abel, C. (1991) Renault Centre, Swindon 1982, Architect: Norman Foster.

Levete, A. (2016) Zaha Hadid’s BMW Central Building is “a radical piece of thinking,” says Amanda Levete.

Saarinen, A (1962) Eero Saarinen on His Work.

PART TWO - INQUIRY 1.

Vermeersch, L. (2014) Five reasons Belgium has the worst traffic in Europe.

Images & Illustrations

PART ONE - RESEARCH 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

Skyline Brussel from the Place Poelaert.

Retrieved December 12, 2016, from https://yvanderkimpen.com/gallery/bxl/ brussels/ HemelsBrussel. Retrieved July 26, 2016, from http://bruciel.brussels/# - Citroën Yser meets Goodwood.

September 1, 2016, Graphics by Luuk van den Elzen.

- Goodwood Sculpture. Retrieved August 31, 2016, from https://thedrivenblog.files. wordpress.com/2013/07/p1080382-001.jpg Wrapped German Cars I. Retrieved November 22, 2016, from https://s3-euwest-1.amazonaws.com/surfaceview/ images/3399/original/TRU0099_ websource.jpg?1391797195 Scale. April 20, 2016, Graphics by Luuk van den Elzen Illustration - Type of E-Mobility. June 25, 2016, Graphics by Luuk van den Elzen Stitched Panorama. Retrieved December 20, 2016, from http://youllmissme.com/ interviews/victor-enrich/ Methods of achieving links between old and new- Françoise Astorg Bollack.

Bollack, F. A. (2000). Old Buildings New Forms, New directions in architectural transformations. New York: The Monacelli Press.

Absorbing Modernity Courtesy of la Biennale di Venezia. Retrieved May 5, 2016, from http://www.archdaily. com/568233/reflections-on-the-2014venice-biennale Citroën Yser Brussels. Retrieved July 27, 2016, from http://www.ac-good.com/ tractionavant1934/index_fichiers/garage_ bruxelles.html André Citroën. Retrieved September 28, 2016, from http://www.carmagazine. co.uk/features/top-10s/the-car-top-10-carbosses-fired-from-their-own-companies/ Citroën Traction Avant. Retrieved September 28, 2016, from http://www. carstyling.ru/en/car/1934_citroen_ traction_avant/images/1023/Citroën Citroën Traction Avant. Retrieved

14.

15.

16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

26.

September 28, 2016, from http://www. carstyling.ru/en/car/1934_citroen_ traction_avant/images/1023/ Citroën Yser. Retrieved December 29, 2016, from http://auto55.mobi/ multimedia/fotospecials/6033-citroenyser Citroën Yser. Retrieved December 29, 2016, from http://auto55.mobi/ multimedia/fotospecials/6033-citroenyser Citroën Yser. Retrieved July 21, 2016, from https://www.citroen-forum.nl/ forums/viewthread/214473/ Citroën Yser. Retrieved July 27, 2016, http://www.ac-good.com/ tractionavant1934/index_fichiers/garage_ bruxelles.html Citroën Yser. Retrieved December 29, 2016, from http://www.gvw-photos.com/ architecture-gallery?lightbox=i01ha8 Citroën Yser. Retrieved December 29, 2016, from http://auto55.mobi/ multimedia/fotospecials/6033-citroenyser Citroën Yser. Retrieved July 21, 2016, from https://www.citroen-forum.nl/ forums/viewthread/214473/ Citroën Yser. Retrieved July 26, 2016, from http://fr.slideshare.net/ LouisDebruyne/presentatie-thomasstroobants Citroën Traction Avant. Retrieved September 28, 2016, from http://www. carstyling.ru/en/car/1934_citroen_ traction_avant/images/1023/ Citroën DS. Retrieved December 30, 2016, from https://blog.hemmings.com/index. php/2013/07/25/cars-of-futures-pastcitroen-ds/ Tesla Model S. Retrieved January 03, 2017, from https://www.tesla.com/en_CA/ preowned/5YJSA1H19EFP51471 E-Mobility for kids. Retrieved November 8, 2016, from http://tesla.radioflyer.com/ build.html Fifth Avenue Easter Parade. Retrieved January 2, 2017, from https://www. inmotionventures.com/movementdisrupted/

27. Fifth Avenue Easter Parade. Retrieved January 2, 2017, from https://www. inmotionventures.com/movementdisrupted/ 28. Illustration - Demand for E-Mobility. June 15, 2016, Graphics by Luuk van den Elzen.

Based on data retrieved from, Future of Highways. Arup, 2014.

29. Illustration - Significance of E-Mobility.

June 15, 2016, Graphics by Luuk van den Elzen. Based on data retrieved from, http://www.bp.com/, http://www.epa.gov/, http://evsroll.com/Car_pollu9on_facts. html 30. Illustration - Stakeholders. June 4, 2016, Graphics by Luuk van den Elzen 31. Illustration - Concept E-Mobility. June 14, 2016, Graphics by Luuk van den Elzen 32. Top Gear. Retrieved September 28, 2016, from https://www.youtube.com/ watch?v=5gFGX43vubM&t=265s 33. Villa Stein-de-Monzie. Retrieved November 8, from Fondation Le Corbusier.

34. Vers une Architecture. Retrieved October 19, 2016, from https://www.studyblue. com/notes/note/n/modern-postmodernarch-midterm1/deck/11251593 35. Maison Citrohan. Retrieved January, 2017, from http://blog.lindsaycars.com/ wordpress/?p=4142 36. Villa Savoye Voisin. Retrieved November 8, 2016, from http:// patrimoineautomobile.com/le-corbusieren-voisin-lumineuse/ 37. Villa Savoye Voisin. Retrieved October 24, 2016, from http://buylesschoosewell.com/ le-coupe-renault-corbusier-a-la-villasavoye/ 38. Pavillon de Suisse Voisin. Retrieved October 19, 2016, from https://www. studyblue.com/notes/note/n/architecturebuildings-2/deck/12714538 39. Le Corbusier and his Voisin. Retrieved October 19, 2016 from http://www. peugeotforum.nl/phpBB/viewtopic. php?t=3763&p=278394 40. Vers une Architecture. Retrieved October 19, 2016, from https://www.studyblue. com/notes/note/n/modern-postmodern-

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arch-midterm1/deck/11251593 41. Vers une Architecture. Retrieved October 19, 2016, from https://www.studyblue. com/notes/note/n/modern-postmodernarch-midterm1/deck/11251593 42. Cover Typological Research: Lingotto Factory. Retrieved July 17, 2016, from https://www.flickr.com/photos/ fotoraffo/3144253708 43. - Lingotto Factory. Retrieved July 17, 2016, from http://www.bbc.com/autos/ story/20140825-a-racetrack-in-the-sky - Lingotto Factory. Retrieved July 18, 2016, from https://racingnews.co/2015/12/31/ automotive-factory-rooftop-test-track/ - Lingotto Factory. Retrieved July 17, 2016, from http://www.bbc.com/autos/ story/20140825-a-racetrack-in-the-sky - Lingotto Factory. Retrieved July 18, 2016, from http://www.bbc.com/autos/ story/20140825-a-racetrack-in-the-sky - Lingotto Factory. Retrieved July 18, 2016, from http://www.bbc.com/autos/ story/20140825-a-racetrack-in-thesky 44. Fagus-Werke - Walter Gropius. Retrieved October 27, 2016, from, https:// de.wikipedia.org/wiki/Fagus-Werk 45. Illustration Lingotto Factory Concept. July 20, 2016, Graphics by Luuk van den Elzen.

46. Le Corbusier on the rooftop track.

Retrieved December 30, 2016, from https://rosswolfe.files.wordpress. com/2013/05/le-corbusier-fiat-lingotto12. jpg 47. Rooftop track Lingotto Factory. Retrieved October 24, 2016, from http://lh6.ggpht. com/ 48. Rooftop track Lingotto Factory. Retrieved July 18, 2016 from http://note.taable. com/post/CC1/feedproxy.google.com/~r/ amusingplanet/~3/Vqpsc2V4EWM/therooftop-racetrack-of-fiats-lingotto.html October 24, 2016, from http://lh6.ggpht. com/ 49. Rooftop track Lingotto Factory. Retrieved July 18, 2016, from http://www.bbc.com/ autos/story/20140825-a-racetrack-in-thesky 50. Assenvaux Imperia. Retrieved October

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25, 2016, from http://petrolicious.com/ another-rooftop-track-emerges-inbelgium Assenvaux Imperia. Retrieved October 25, 2016, from http://petrolicious.com/ another-rooftop-track-emerges-inbelgium Assenvaux Imperia. Retrieved October 25, 2016, from http://petrolicious.com/ another-rooftop-track-emerges-inbelgium El Palacio Chrysler. Retrieved October 25, 2016, from http://www.taringa.net/ post/autos-motos/12754510/El-PalacioChrysler.html El Palacio Chrysler. Retrieved October 25, 2016, from http://www.taringa.net/ post/autos-motos/12754510/El-PalacioChrysler.html El Palacio Chrysler. Retrieved October 25, 2016, from http://wikimapia.org/430654/ es/Palermo-Chico El Palacio Chrysler. Retrieved October 25, 2016, from http://wikimapia.org/430654/ es/Palermo-Chico Construction principle. Retrieved October 24, 2016, John Hewitt Construction principle. Retrieved October 24, 2016, John Hewitt Construction. Retrieved October 24, from, http://www.fosterandpartners.com/ projects/renault-distribution-centre/ Construction. Retrieved October 24, from, http://www.fosterandpartners.com/ projects/renault-distribution-centre/ Renault Centre. Retrieved October 24, from, http://www.fosterandpartners.com/ projects/renault-distribution-centre/ Renault Centre. Retrieved January 4, 2016, from http://www.mirror.co.uk/news/ uk-news/james-bond-warehouse-getslisted-2286875 BMW Central building plan. Retrieved July 12, 2016, from http://www.zahahadid.com/architecture/bmw-centralbuilding/ BMW cb interior. Retrieved July 12, 2016, from http://www.zaha-hadid.com/ architecture/bmw-central-building/ BMW cb interior. Retrieved July 12,

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2016, from http://www.zaha-hadid.com/ architecture/bmw-central-building/ BMW Cb interior. Retrieved July 12, 2016, from http://www.zaha-hadid.com/ BMW Cb exterior. Retrieved July 12, 2016, from http://www.zaha-hadid.com/ Lobby. Retrieved December 30, 2016, from http://zona-rapida.blogspot. nl/2016/04/gm-technical-center-dondeel-hoy.html Dome. Retrieved October 26, 2016, from http://andoniscars.blogspot. nl/2012/06/legend-called-gm-design. html#axzz4UmqB0gyP Water tower. Retrieved October 26, 2016, from http://photo.sf.co.ua/g/295/6.jpg Entrance. Retrieved December 30, 2016, http://4.bp.blogspot.com/-8xUXd5e9p-g/ Tt6U8xgQBcI/AAAAAAAABw0/5L-N_ Jr12dw/s1600/10018b.jpg

PART TWO - INQUIRY 1.

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Cover Brussels: Schwarzplan Brussels.

November 8, 2016, Graphics by Luuk van den Elzen Illustration Statistics Europe. January 2, 2017, Graphics by Luuk van den Elzen Illustration Europe. January 2, 2017, Graphics by Luuk van den Elzen Illustration Overview Brussels. December, 22, 2016, Graphics by Luuk van den Elzen Illustration statistics Brussels, January 2, 2017, Graphics by Luuk van den Elzen - Grote markt Brussels. Retrieved August 31, 2016, from https://nl.wikipedia.org/ wiki/Grote_Markt_(Brussel) - Business quarter Brussels. Retrieved September, 28, 2016, from http://www. interbuild.be/fr/projecten/renovationde-bureaux/ - Schwarzplan Brussels.

November 8, 2016, Graphics by Luuk van den Elzen Illustration Distance. January 3, 2017, Graphics by Luuk van den Elzen Morphology Brussels. December 12, 2016, Graphics by Luuk van den Elzen - Illustration Aerial location. December 25, 2016, Graphics by Luuk van den Elzen.

- Aerial photo. Retrieved September 25,

2016 from, http://bruciel.brussels/ 10. Aerial photos 1933-2015. Retrieved July 26, 2016 from http://bruciel.brussels/ 11. Aerial photos 1933-2015. Retrieved July 26, 2016 from http://bruciel.brussels/ 12. - Illustration before construction.

November 18, 2016. Graphics by Luuk van den Elzen - Citroën Yser. Retrieved July 26, 2016, from http://fr.slideshare.net/ LouisDebruyne/presentatie-thomasstroobants 13. Illustration location 1933. November 18, 2016. Graphics by Luuk van den Elzen - Aerial photo. Retrieved September 25, 2016 from http://bruciel.brussels/ 14. Illustrations 3D-view. September 25, 2016, Graphics by Luuk van den Elzen - Aerial 3D-view. Retrieved July 26, 2016, from google.com/maps 15. Illustrations 3D-view. September 25, 2016, Graphics by Luuk van den Elzen - Aerial 3D-view. Retrieved July 26, 2016, from google.com/maps 16. Illustrations 3D-view. September 25, 2016, Graphics by Luuk van den Elzen Aerial 3D-view. Retrieved July 26, 2016, from google.com/maps 17. Illustrations 3D-view. September 25, 2016, Graphics by Luuk van den Elzen Aerial 3D-view. Retrieved July 26, 2016, from google.com/maps 18. - Illustration Aerial location. December 25, 2016, Graphics by Luuk van den Elzen.

19. Illustration Districts. July 26, 2016, Graphics by Luuk van den Elzen.

20. Illustration Subway. July 27, 2016, Graphics by Luuk van den Elzen.

21. Illustration Main roads. July 27, 2016, Graphics by Luuk van den Elzen.

22. Aerial view area. Retrieved August 21, 2016, from http://www.brusselsfromabove. be/#s=pano236 23. Citroën Yser. Retrieved July 26, from, http://docomomo.be/nl-citroengaragehet-museum-voorbij/ 24. Advertisement Citroën Yser. Retrieved July 26, from, http://docomomo.be/nlcitroengarage-het-museum-voorbij 25. Cover design. Retrieved July 27,

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from, http://www.ac-good.com/ tractionavant1934/index_fichiers/garage_ bruxelles.html Original drawing. Retrieved September 28, 2016, from http://fr.slideshare.net/ LouisDebruyne/presentatie-thomasstroobants At night. Retrieved July 21, 2016, from http://fr.slideshare.net/LouisDebruyne/ presentatie-thomas-stroobants Construction Exhibition. Retrieved July 26, 2016, from, http://s96.photobucket. com/user/bxsport_2006/library/ Construction Exhibition. Retrieved July 26, 2016, from, http://s96.photobucket. com/user/bxsport_2006/library/ Construction. Retrieved December 30, 2016, from, http://auto55.mobi/ multimedia/fotospecials/6033-citroenyser Construction. Retrieved December 30, 2016, from, http://auto55.mobi/ multimedia/fotospecials/6033-citroenyser Construction. Retrieved December 29, 2016, from, http://auto55.mobi/ multimedia/fotospecials/6033-citroenyser Construction. Retrieved July 26, 2016, from, http://s96.photobucket.com/user/ bxsport_2006/library/ Citroën Exhibition hall. Retrieved December 30, 2016, from http://www. dssmclub.be/LinkClick.

2CV. Retrieved December 30, 2016, from, http://auto55.mobi/multimedia/ fotospecials/6033-citroen-yser 2CV & Helicopter. Retrieved December 30, 2016, from, http://auto55.mobi/ multimedia/fotospecials/6033-citroenyser 2CV & Helicopter. Retrieved December 30, 2016, from, http://auto55.mobi/ multimedia/fotospecials/6033-citroenyser Storage hall. Retrieved December 30, 2016, from, http://auto55.mobi/ multimedia/fotospecials/6033-citroenyser Hall during construction. Retrieved

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December 30, 2016, from, http://auto55. mobi/multimedia/fotospecials/6033citroen-yser Spare parts warehouse. Retrieved December 30, 2016, from, http://auto55. mobi/multimedia/fotospecials/6033citroen-yser Assembly. Retrieved December 30, 2016, from, http://auto55.mobi/multimedia/ fotospecials/6033-citroen-yser Viaduct Koekelberg. Retrieved July 22, 2016, from http://www.bruzz.be/nl/ nieuws/viaduct-van-koekelberg-wordtgerenoveerd-bangkok Exhibition hall 1970s. Retrieved December 30, 2016, from, http://auto55. mobi/multimedia/fotospecials/6033citroen-yser Exhibition hall 1930s. Retrieved July 26, from http://fr.slideshare.net/ LouisDebruyne/presentatie-thomasstroobants Exhibition hall today. Retrieved July 26, 2016, from https://scontent.xx.fbcdn.net Corridor. Retrieved July 22, 2016, from http://architizer.com/blog/howan-architects-self-published-bookcan-change-the-fate-of-a-modernistmasterpiece/ Corridor. Retrieved July 22, 2016, from http://architizer.com/blog/howan-architects-self-published-bookcan-change-the-fate-of-a-modernistmasterpiece/ Exhibition hall at night. Retrieved July 21, 2016, from http://s96.photobucket.com/ user/bxsport_2006/media/Yser.jpg.html Canal side 1990s. Retrieved July 26, 2016, from http://www.skyscrapercity.com/ showthread.php?p=113890968 Canal side 2000s. Retrieved July, 22, 2016, from http://www.bmabru.be/ Other side of the canal. Retrieved July 26, 2016, from http://www.skyscrapercity. com/showthread.php?p=113890968 Plan 1933. Retrieved July 22, 2016, from http://fr.slideshare.net/LouisDebruyne/ presentatie-thomas-stroobants Exhibition hall construction. Retrieved July 22, 2016, from http://fr.slideshare.

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net/LouisDebruyne/presentatie-thomasstroobants Build-up. Retrieved July 22, 2016, from http://fr.slideshare.net/LouisDebruyne/ presentatie-thomas-stroobants Construction principle. Retrieved July 22, 2016, from http://fr.slideshare.net/ LouisDebruyne/presentatie-thomasstroobants Comparison 1. Retrieved July 22, 2016, from http://fr.slideshare.net/ LouisDebruyne/presentatie-thomasstroobants Comparison 2. Retrieved July 22, 2016, from http://fr.slideshare.net/ LouisDebruyne/presentatie-thomasstroobants Cover Inquiry Construction of Cars: Jaguar E-type. Retrieved October 24, 2016, from http://fabianoefner. com/?portfolio=disintegrating Chassis Monocoque. Retrieved October 24, 2016, from, http://special.porsche. com/ Skateboard. Retrieved January 3, 2017. from http://newatlas.com/jaguar-i-paceconcept-ev/46436/ Ladder chassis. Retrieved October 26, 2016, from https://commons.wikimedia. org/wiki/File:Napier_rolling_chassis.jpg SSB. Retrieved October 24, 2016, from http://www.alcoa.com/car_truck/en/ images/audi_1.jpg SSB Aluminium. Retrieved October 24, 2016, from http://www.astonmartin. com/cars/the-new-vanquish/vanquishtechnical Tube frame. Retrieved October 24, 2016, from http://www.vp-racecars.com/images/ chassis/chassis1.jpg Cover Program. Retrieved December 26, 2016, from http://www.bmwmagazine. com/int/en Illustration programmatic possibilities.

May 10, 2016, Graphics by Luuk van den Elzen.

Illustration programmatic concept. June 4, 2016, Graphics by Luuk van den Elzen.

Illustration programmatic concept. August 24, 2016, Graphics by Luuk van den Elzen.

69. Illustration Program. August 30, 2016, Graphics by Luuk van den Elzen.

70. Illustration Track & Program. September 18, 2016, Graphics by Luuk van den Elzen.

71. Illustration WITF. August 28, 2016, Graphics by Luuk van den Elzen.

72. WITF. July 18, 2016, Graphics by Luuk van den Elzen.

73. Connectivity. July 18, 2016, Graphics by Luuk van den Elzen.

74. Mobility. July 18, 2016, Graphics by Luuk van den Elzen.

75. Community. July 19, 2016, Graphics by Luuk van den Elzen.

76. BMW Track on 1933 plan. September 4, 2016, Graphics by Luuk van den Elzen.

77. Relation to track. October 27, 2016, Graphics by Luuk van den Elzen.

PART THREE - DESIGN 1.

Collage. July 8, 2016, Graphics by Luuk van den Elzen.

2. Transformation strategies. August 30, 2016, Graphics by Luuk van den Elzen.

3. Transformation strategies. August 30, 2016, Graphics by Luuk van den Elzen.

4. Early studies. September 9, 2016, Graphics

by Luuk van den Elzen.

5. Diagrams of concept & program. June 4, 2016, Graphics by Luuk van den Elzen.

6. Diagrams of program planning. June 4, 2016, Graphics by Luuk van den Elzen.

7. Concept. August 21, 2016, Graphics by Luuk van den Elzen.

8. Various diagrams. July 2016, Graphics by Luuk van den Elzen.

9. Type of E-mobility. August 29, 2016.

Graphics by Luuk van den Elzen.

10. Cutaway CitroĂŤn DS. Retrieved September 28, 2016, from http://tech-racingcars. wikidot.com/citroen-ds23-fg 11. Original drawing. Retrieved September 28, 2016, from http://fr.slideshare.net/ LouisDebruyne/presentatie-thomasstroobants 12. Cutaway BMW i3. Retrieved January 4, 2017, from http://www.driversmagazine. com/2017-bmw-i3-revamped-versionmight-released-next-year/

13. FMC. September 28, 2016. Graphics by Luuk van den Elzen.

14. Building. January 5, 2017, Graphics by Luuk van den Elzen.

15. Low Drag GT. Retrieved January 5, 2017, from http://www.eaglegb.com/52/eaglelow-drag-gt/outcome 16. Low Drag GT. Retrieved January 5, 2017, from http://www.eaglegb.com/52/eaglelow-drag-gt/outcome 17. Low Drag GT. Retrieved January 5, 2017, from http://www.eaglegb.com/52/eaglelow-drag-gt/outcome 18. Transformation. January 6, 2017, Graphics

by Luuk van den Elzen.

19. Elements. January 5, 2017, Graphics by Luuk van den Elzen.

20. Functions. January 4, 2017, Graphics by Luuk van den Elzen.

21. Track. January 4, 2017, Graphics by Luuk van den Elzen.

22. Pedestrian Walkway. January 4, 2017, Graphics by Luuk van den Elzen.

23. Production & Labs. January 6, 2017, Graphics by Luuk van den Elzen.

24. Urban. January 6, 2017, Graphics by Luuk van den Elzen.

25. Total. January 6, 2017, Graphics by Luuk van den Elzen.

26. Roof. January 5, 2017, Graphics by Luuk van den Elzen.

27. Buildings. December 12, 2016, Graphics

by Luuk van den Elzen.

28. Pedestrian walkway. December 12, 2016, Graphics by Luuk van den Elzen.

29. Test track. December 12, 2016, Graphics

by Luuk van den Elzen.

30. Program. December 12, 2016, Graphics by Luuk van den Elzen.