pantheon// 2013 | education

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bimonthly publication of d.b.s.g. stylos / issue 4 / volume 2013

pantheon// education

shortsighted 4 learning through images 26 Anne Holtrop 27 architects without architecture 24

Bimonthly edition of the study association Stylos faculty of Architecture, TU Delft

colophon volume 17, issue 4, december 2013 2.500 prints Stylos members en friends of the Stylos Foundation receive the pantheon// editorial office BG. midden 110 Julianalaan 132-134 2628 BL, Delft editor-in-chief Nina Bohm head-editor Antje Adriaens Isabel Potworowski

About the cover What if the Why Factory wasn’t orange? To what extent is the branding, identity, and atmosphere of the studio dependent on the colour of the working space? How would a purple Why Factory affect the designs that are produced? The colour manipulation of the Orange Room provokes the question of the effect of the learning environment on architectural education.

bimonthly publication of d.b.s.g. stylos / issue 4 / volume 2013


Original photo by Nicolette Mastrangelo.

editors Marthe van Gils Gerben Hofmeijer Anneloes Kattemölle Laura Linsi Duarte Miranda Margot Overvoorde Bernard Oussoren to this issue contributed Filip Pliakis, Kotryna Valeckaite, Lennert Evers, Max Verhoeven, Charlotte Ros, Ezgi Yüksel, de Facultaire Studentenraad, Jort Westinga, Ilse Galama, Lianne Siemensma, Nanette Lim, Lisa Oosterwijk, Joris van Dijk, Maarten van Zutphen, Anne Holtrop, Elise van Doorn advertisements 20 | MHB 20 | BNA 30 | Waltman 30 | De Swart publisher De Swart, ‘s-Gravenhage cover Antje Adriaens, Duarte Miranda, Laura Linsi


shortsighted 4 learning through images 26 Anne Holtrop 27 architects without architecture 24

editorial Antje Adriaens & Isabel Potworowski With a new mix of nationalities in the Pantheon// committee this year, understanding and comparing our different educational backgrounds has become a central topic of discussion. It includes how we were taught, the particular design methods proposed by our tutors, differences in studio culture and working hours, and our studio spaces. Given the international student body at TU Delft, and the variety of approaches offered by the different chairs, we find this topic especially pertinent. Several different perspectives are given in this issue.

The Delftsch Bouwkundig Studenten Gezelschap Stylos was founded in 1894 to look after the study and student interests at the Faculty of Architecture and the Built Environment at the Delft University of Technology.

The Stylos section covers the topic of the new Bachelor education

board 120 D.B.S.G. Stylos chairman: Filip Pliakis secretary: Roel Kosters treasurer: Nikki de Boer education bachelor: Charlotte Ros education master: Nina Bohm external affairs: Oukje van Merle lustrum: Lisa Oosterwijk


contact BG. midden 110 Julianalaan 132-134 2628 BL Delft

the course Van Gezel tot Meester (from apprentice to master), (+31) 15 2783697 membership Stylos €10,- per year account number 296475 Stylos Foundation The pantheon// is funded by the Stylos Foundation. The Stylos Foundation fulfills a flywheel function to stimulate student initiatives at the Faculty of Architecture and the Built Enivronment at the Delft University of Technology. The board of the Stylos Foundation offers financial and substantive support to these projects. As a friend of the Stylos Foundation you will be informed on these projects by receiving the B-nieuws every two weeks and five publications of the pantheon//. We ask a donation of €90,- per year as a company and €45,- per year as an individual (recently graduated friends of the Foundation will pay €10,- the first two years). account number 1673413 disclaimer All photos are (c) the property of their respective owners. We are a non-profit organisation and we thank you for the use of these pictures.

system, based on a round table for students that it hosted in

In the section on Education, we take a look at the new MSc1 studio, Methods and Analysis, comparing the experiences of several students. We also interview four students who completed in which they taught first year studios. Both studios place importance on the design process. As well, “Architects without Architecture” examines how architectural education affects the way in which we approach life outside of architecture. Then, the @architect talks with Anne Holtrop, practicing architect and course director of a new architecture Master program at the Sandberg Institute. These discussions are presented to trigger your own reflection on architectural education, in order to make a judgment on the topic.//



2 chairman’s note

14 image disappoints

Filip Pliakis

Bernard Oussoren Isabel Potworowski

2 the power of grid Kotryna Valeckaite


16 ways of doing Laura Linsi

3 beroemde schetsen Lennert Evers

19 in debat met de toekomst

4 shortsighted

Joris van Dijk Maarten van Zutphen

Max Verhoeven

6 school op de universiteit

21 van gezel tot meester Isabel Potworowski

Charlotte Ros

6 buddy system

23 bk bubbel


Gerben Hofmeijer

Ezgi YĂźksel

7 Facultaire Studentenraad

24 architects without architecture Marthe van Gils


8 chronicles of Malaysia Marthe van Gils Jort Westinga Ilse Galama Lianna Siemensma

10 het bouwkunde gala

26 learning through images Margot Overvoorde

general 27 @architect Antje Adriaens

Nanette Lim

11 dies week

31 get inspired Laura Linsi


symposium committee

11 lustrum column

32 agenda Gerben Hofmeijer

Lisa Oosterwijk

33 recommended reading Antje Adriaens


chairman’s note Filip Pliakis

As I look outside the windows of our Stylos office, I can see that the green leaves of the trees across the street have disappeared to make place for an ash grey sky. The Dutch fall is always a strange period with moments of clear blue skies and days of depressing rain. I suddenly realise it has already been three months that the 120th board is sitting in this office. The past time we were occupied with our start up for this very busy year. As the 120th board of this study association we are celebrating our 24th lustrum and this year also coincides with BkBeats, the largest faculty party of the Netherlands. This happens only once every ten years so we understand we are about to face a lot of pressure. Next to all the extra special and large events we are planning for this year, we are also running the association itself. The backbone of the association is made up of our committees: they organize events and activities for the students of our faculty. Every year the new board starts with finding new enthusiastic committee members and this year we needed even more of them. After the freshmen weekend in the summer we immediately started with the recruitment. After three weeks we were happy to conclude that there was a lot of interest from the students to join the committees. We are very pleased we can welcome a lot of new faces to Stylos.

pero puljiz

the power of grid Kotryna Valečkaitė

It was a rainy Tuesday, as grey and ordinary as any other. However, for some it meant something very different - a goal flickering in their consciousness - “To make a city in eight hours”. The watches were counting the last minutes before the start, while the faces of organizers were twitching from stress; nobody knew if the sight would be pleasing enough for the tutor of the masterclass, Pero Pulijz (Architekten CIE), who particularly demanded every participant to have their own foam cutter. When the clocks stroke ten, he and his assistant Pinar Balat, a former student at TU Delft, stormed into the working hall, almost immediately starting the intro for 11 students patiently waiting for the amazing to happen. The pictures of Vlashika, a city near Moscow, currently being designed by Pulijz and his office, put everyone into the mood of the objective: a volumetric study to investigate the relationship between strictly defined grid and its generic infill.

At first the students were rather shy, silently sketching at their tables. However, after an hour the smell of melting foam filled the air. The architect, migrating from one student to another, had a Mona Lisa smile on his face, relieving the strained Masterclass commission which was watching over the whole event. One block after another a city was rising. After the promised 8 hours everyone gathered around their masterpieces. You could clearly see the individuality striking from each model differentiating both in scale and form. One of the participants, Midas Delnooz, commented the task as being ”unusual because of the time limit and the fact that it was more than just making something nice for the eye”. But he was not the only one happy about the result. Pero Pulijz himself cunningly added that he would be very interested in working with the students of TU Delft in the future.//

“At first the students were rather shy, silently sketching at their tables. However, after an hour the smell of melting foam filled the air.”

Now that all the committees are formed we can really start. Stylos aims to involve as many architecture students as possible in our lustrum year. With the hard work done by our committees we can offer a broad range of activities which will address many different groups of students within the faculty, this year with an extra focus on international students. As we slowly slide into the winter we are looking forward to a very exciting period. With the board and all our committees we aim to organise activities which will make studying architecture better and more interesting. This year we hope to do this with a golden luster.//

Pero Puljiz in discussion during the masterclass


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City plans


beroemde schetsen Lennert Evers

Chepos is het onafhankelijke architectuurtijdschrift van de studievereniging Cheops van de Technische Universiteit Eindhoven. Iedere editie wisselen Chepos en pantheon// een artikel uit. Richard Morris Hunt 1827 - 1895 // de sokkel van het vrijheidsbeeld

met een grafietpotlood, waarschijnlijk om de grofheid te benadrukken.

Richard Morris Hunt wordt gezien als een van de belangrijkste grondleggers van de Amerikaanse architectuur. Hij leert het vak aan de École des Beaux-Arts in Parijs, waar hij als eerste Amerikaan in 1846 wordt toegelaten. Na onderwezen te zijn in het atelier van HectorMartin Lefuel, architect van keizer Napoleon III, wint hij met zijn afstudeerproject de Grand Prix de Rome, waarna zijn leermeester hem

Antonio Sant’Elia

aanstelt als bouwmeester bij de renovatie en uitbreiding van het Louvre. Eenmaal terug in Amerika werkt hij onder andere aan de uitbreiding van het Capitool in Washinton DC, ontwerpt hij de gevel van het Metropolitan Museum of Art in New York en wordt hij aldaar een veelgevraagd architect voor luxe residenties aan Fifth Avenue. Zijn meest bekende werk is echter te vinden in de baai van New York op Liberty Island.

ten staan voor een nieuw tijdperk in de architectuur. In het manifest ‘Futurist Architecture’ uit 1914 zegt Sant’Elia daarover het volgende: “The decorative value of Futurist architecture depends solely on the use and original arrangement of raw or bare or violently colored materials.” Dat veel van zijn creaties niet in werkelijkheid zijn gebouwd, zal geen verrassing voor hem zijn geweest. De grote invloed die hij heeft gehad op architecten en stedebouwkundigen na hem, heeft hij echter niet mee kunnen maken. In 1916 sneuvelt Sant’Elia tijdens de Achtste Slag aan de Isonzo, nadat hij zich vrijwillig bij het Italiaanse leger heeft aangemeld.

Hunt wordt aangesteld als architect voor de sokkel van het Vrijheidsbeeld. Zijn opdracht is het stervormige Fort Wood te verbinden met de uit koperen platen vervaardigde sculptuur. Hij kiest voor een vrij grof uitgevoerd gevelbeeld in de basis dat naar boven toe steeds verfijnder wordt. Het gebruikte materiaal is beton, versierd met randen en friezen van Frans Euvillekalksteen en een neoclassicistische loggia van graniet en beton. Op de schets is de sokkel verhoudingsgewijs groter dan hij uiteindelijk is uitgevoerd. Dit kan twee redenen hebben. Ten eerste werd tijdens het ontwerpproces vanwege een tegenvallende begroting besloten de hoogte van de sokkel te reduceren van 35 naar 27 meter. Daarnaast vormde voor Hunt de sokkel het belangrijkste onderdeel van de compositie. Dat Hunt graag de nadruk legde op datgene waar hij zich specifiek mee bezighield, is ook terug te zien in het contrast tussen de met vulpen vervaardigde uitwerking van het grove gevelbeeld en de gewaste achtergrond. Op de rechterkant van de schets is vaag een close-up van de gevelstructuur te zien. Deze is gemaakt

1888 - 1916 // studie voor een energiecentrale Antonio Sant’Elia is achttien jaar als hij als Bouwmeester afstudeert aan de technische school te Corno, Italië. In 1913 opent hij zijn eigen atelier in Milaan, waar hij aan een serie tekeningen werkt van een futuristische Città Nuova; een nieuwe stad die symbool zou moe-

Voorstel vrijheidsbeeld door Richard Morris Hunt Studie naar een energiecentrale door Antionio Sant’Elia

In zijn schetsen houdt Sant’Elia zich voornamelijk bezig met driedimensionale composities in plaats van plattegronden en doorsnedes. Zo ook op deze tekening. Hij focust zich op het weergeven van zijn visie voor het gebouw als geheel zonder zich uit te laten over de interne ruimtes. Hij streefde naar een hevig geïndustrialiseerde en gemechaniseerde stad die niet bestaat uit vele individuele gebouwen, maar enorme met elkaar verbonden meerlaagse complexen. Om de hoogte te accentueren maakt Sant’Elia gebruik van een tweepuntsperspectief met de verdwijnpunten dicht op elkaar en een lage horizon. Lijnen die benadrukt moeten worden, zet hij meerdere malen over elkaar op papier.//

“The decorative value of Futurist architecture depends solely on the use and original arrangement of raw or bare or violently colored materials.” s t y l o s // e d u c a t i o n // g e n e r a l



shortsighted Max Verhoeven

Look no further than your nose is tall! Nowadays many designs are copied and placed in an environment for which they are not intended. It is time again to design for and with the local environment: local materials, local systems, local tradition and skills, local culture and local history. In short; local resources. We believe that local relevance and resources are the foundation of sustainable and smart design solutions. This is the way people have been building for ages and we are just beginning to rediscover its wisdom and potential. It is not about going back to the past but about looking closely and discovering new combinations and materials. In collaboration with Stylos, Shortsighted Architecture* presents to you the Shortsighted Symposium. For two days, students will be emerged in lectures of professionals, workshops with local materials and discussions on local architecture. They will learn about the impact local resources can have and will get a feeling for working with local materials, which in the Netherlands can mean clay, different kinds of wood such as willow branches, straw, waste materials, even potato starch and mushrooms and who knows what else will be discovered if we just look closely! The symposium will be held on December 17 and 18 and will be hosted in different parts of the Faculty of Architecture. The 17th of December will start with an inspiring lecture from Alexander Vollebregt from the Center for Urban Consciousness, the Center for Integral Development and the TU Delft Faculty of Architecture chair of Spatial Planning & Strategy. The lecture will concern self-empowerment and the notion of the local. He will challenge the paradigm of the system at this moment and bring new possibilities to the table.

An extension to a cabin from 1800 on the shore of the lake Ovre Gla in Sweden by 24H architecture. The extension is made with traditional materials and can literally adjust itself to it’s environment depending on the weather conditions, the season or the number of occupants. By 24H Architecture.


Alexander will be followed by a lecture from 24H architects. ‘Nature summaries all that 24H architects is about.’ They will share their expertise on working with local resources around the globe by providing various examples. This lecture will be free and open to everybody.

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During the workshops students will transform locally sourced materials such as willow branches, straw, waste materials and wood from the Dexto pavilion into an organic structure that will be exposed at the model hall. The pavilion will be a place of contemplation for architecture students and will eventually be taken apart to serve a second or third life as a construction material for modeling. In this way the circle from natural source, evolving into an organic structure into waste material and into a local source again will be closed. These workshops will be spread out over the two days and will be guided by amongst others 24H architects, Alexander Vollebregt, Orio Architects and Arie van Ziel, architect from studio Content (mobile office). Studio Content creates dwellings made from natural building materials. It guides starting ecological projects and does research into compost and other organic matter. Local architecture goes towards another way of living in balance with our environment. To achieve this balance we need an integral approach. Local organic food will be provided by ‘Kistje vol Smaak’, we will cook, eat and sleep together and there will be an evening program that will extend into the night. To get more involved in the subject of local architecture Stylos will host movie nights every Thursday until the symposium. You can subscribe for the workshops and lectures at the office of Stylos. Participation costs €20,-, including food and beverages. The weekly movies are free to attend. Check out the website of Stylos or Shortsighted Architecture for more information. >> >> >> >> >>

*Shortsighted Architecture consists of four students from the TU Delft and the University of Utrecht. People tend to copy ways of building and designing that are created for different habitats. Shortsighted Architecture is a collaborative of young, deliberately shortsighted people who look no further than the end of our noses to create and share sustainable design with local resources.

Wilgentenen (willow branches) artwork by Hester Pilz. During the symposium a workshop will be held regarding the use of wilgentenen. A local material with a long history of usage in the Netherlands. By Mooi Straten.

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rond de tafel

school op de universiteit

Charlotte Ros

Wat door het College van Bestuur in “Koersen op Studiesucces” al werd aangegeven, heeft de faculteit Bouwkunde ingevoerd: modulair onderwijs, minder herkansingen, meer tussentijdse toetsmomenten. Heeft deze ontwikkeling niet een te verschoolste academie als gevolg? Met ingang van de bachelorvernieuwingen wordt het duidelijk dat touwtjes van het universitair onderwijs strakker in handen worden genomen. Elke faculteit op de TU heeft bachelorvernieuwingen uitgevoerd om te kunnen voldoen aan de eisen uit Den Haag. Wat door het College van Bestuur in “Koersen op Studiesucces” al werd aangegeven, heeft de faculteit bouwkunde ingevoerd: modulair onderwijs, minder herkansingen, meer tussentijdse toetsmomenten. Dit alles om het onderwijssysteem te vernieuwen, efficienter te maken en studenten te ‘activeren’ zo snel mogelijk hun studie af te ronden.

Heeft deze ontwikkeling niet een te verschoolste academie als gevolg?

Rond de tafel-gesprekken Eind november hebben de onderwijsevaluaties in de vorm van Rond de tafel-gesprekken plaatsgevonden. Hierin hebben de FSR en Stylos met studenten rond de tafel gezeten om te praten over het afgelopen onderwijs. Samen met onder andere de digitale kwartaal-enquetes en panel-gesprekken is dit een belangrijke peiling van de zaken die nu spelen onder de studenten. Waar zijn mensen tevreden over, en waar minder? Hoe bevalt het vernieuwde bachelorsysteem?


buddy system

Met de bachelorvernieuwingen kan het op papier het er nog zo goed uitzien, in de praktijk kan je pas de echte kinderziektes aanpakken. Voor de nieuwe Bachelorstudenten lijken deze kinderziektes geen groot probleem te zijn. Nieuw en fris aangekomen op deze faculteit, stromen de eerstejaars natuurlijk meteen in het nieuwe systeem en overgangsregelingen kunnen aan hen voorbij.

Ezgi Yüksel

The Buddy Program offered by the Thinking International Committee of Stylos aims to bring international and Dutch students together in a fun way which can also contribute to building a network for their architectural studies. The program has a simple system. We make a group of buddies with Dutch and international students to attend to activities together or to plan their own. If you want to get to know different cultures or want to expand your social network into an international scale for your studies, sign up to become a Buddy! More information can be found at Stylos.//

Tweedejaars studenten kwamen dit half jaar wel behoorlijk in de knel. Bijvoorbeeld dat ze nu een mechanicavak missen door verschuiving, of dat nog geen oefententamens beschikbaar zijn en hierdoor daadwerkelijke tentamens verassingen zijn. Ook bleek bijvoorbeeld de balans in studielastverdeling niet toch niet zo optimaal als op papier. Dit zijn allemaal kinderziektes: onbedoelde problemen. Aan de hand van de uitgekomen klachten, zijn de coordinatoren direct aan de slag gegaan, wat nu gelukkig ook merkbaar lijkt te zijn in het nieuwe kwartaal. Toch blijft het vervelend dat tweedejaars, waarvan een record aan P-inéén studenten, tegen zoveel dingen aanlopen, maar hier niet echt een compensatie voor kan worden gegeven. Studenten van het bacheloreindproject waren over het algemeen niet tevreden over de


s t y l o s // e d u c a t i o n // g e n e r a l

invulling van de afronding van hun bachelor. Moet een bacheloreindproject niet een laatste project zijn om te laten zien wat je in huis hebt, en je voor te bereiden de master die jij voor ogen hebt? Nu is ON6 een ontwerpproject met betrekking op de Kunsthal, parralel lopend AC3, het eindwerkstuk. Maar ON6 blijkt een meer een architectuurgericht ontwerpproject, dus wat als je hart bij stedenbouw ligt? Literatuuronderzoek voor AC3 beperkt zich tot het verplichte gebruik van bronnen op blackboard, welke interessant zijn, maar is dat academische studie? Een groot zelfgekozen scriptie aan het einde van de bachelor kan een struikelblok zijn voor bouwkundestudenten, wie niet zeer bedreven zijn in scripties. Door een vak vorm te geven als ON6 of AC3, maak je het afstuderen misschien efficienter en sneller, maar zullen studenten ook daadwerkelijk klaar zijn voor het masteronderwijs? De keuzemogelijkheden worden ingeperkt, en verplichtingen opgelegd. Dit werpt zijn vruchten af in de cijfers: BSA, p-in-één, dat ziet er allemaal gunstig uit voor de faculteit. Maar leert bouwkunde ons niet dat, al bouw je nog zo’n mooi geloten hightec klimaattechnisch systeem, uiteindelijk bepalen de keuzemogelijkheid een trui aan te trekken of een raam open te doen het meest significant het comfort van de gebruiker. Geldt dit niet ook voor het onderwijs?//

Rapport “Koersen op Studiesuccess”:


Facultaire Studentenraad Het jaar is al weer even bezig en de Facultaire Studentenraad is ook druk geweest om op te starten en haar plek te leren kennen. Wij zijn er om jullie te vertegenwoordigen en daarom willen wij ons graag aan jullie voorstellen en vertellen waar wij mee bezig zijn. Lisa ten Brug // Voorzitter Mijn reden om FSR te gaan doen heeft alles te maken met een stem geven aan studenten. Ideeën die je over je vakgebied hebt, kan je breder trekken en gebruiken voor en met de faculteit. Geef vorm aan je leeromgeving, wees innovatief en vooral ondernemend. Dit jaar staat de faculteit bouwkunde in het teken van twee grote veranderingen: de nieuwe bachelor en de verbouwing. Aan FSR de taak om te zorgen dat deze zaken uitgevoerd worden zonder te veel overlast voor de studenten. Naast deze twee grote gebeurtenissen staat ook de kwaliteit van het onderwijs boven aan de agenda. Wij gaan voor een duurzame, innoverende en inspirerende faculteit en daar kan iedereen aan meewerken.

Steven Zijlstra // Secretaris Ik ben Steven Zijlstra. Als Secretaris van de FSR is het mijn taak om een helder overzicht te houden op de documenten en al het inkomende mailverkeer. Tevens ben ik verantwoordelijk voor de financiën. Mijn reden om bij de FSR te gaan, is dat ik meer betrokken wil raken bij het bedrijf Bouwkunde en binnen dat bedrijf de student wil vertegenwoordigen. Daarnaast geloof ik sterk dat nevenactiviteiten zowel je persoonlijke ontwikkeling als je carrière bevorderen. Is er iets tijdens je studie waar je tegenaan loopt? Wij zijn de schakel tussen de student en de faculteit, dus aarzel niet om ons te benaderen!

Denise de Blok // commissaris BSc Mijn naam is Denise de Blok, ik heb dit jaar de functies Vicevoorzitter en commissaris Bachelor op me genomen. Mijn reden om bij de FSR te gaan, is dat je op deze manier de stem van de student kunt vertegenwoordigen en op een concrete manier bezig bent het onderwijs op niveau te houden. Dit jaar is de nieuwe bachelor van start gegaan, wat betekent dat op vele vakken nog de puntjes op de i gezet moeten worden. Opmerkingen of problemen van studenten over de nieuwe bachelor

komen al snel bij ons terecht. Als FSR denk ik dat wij een belangrijke taak kunnen vervullen door dit aan de docenten te communiceren, zodat de nieuwe bachelor een succes wordt, voor zowel studenten als docenten.

Tom Scholten // commissaris officieel en BSc Komend jaar wordt een spannend, maar vooral interessant jaar voor Bouwkunde aangezien de nieuwe bachelor van start gaat. Als commissaris Bachelor ben ik verantwoordelijk voor het overbrengen van de stem van de student naar de faculteit zelf en zal ik op zoek gaan naar oplossingen voor problemen die mijn mede studenten tegenkomen. Daarnaast heb ik nog een neventaak in de FSR als commissaris Officieel, binnen deze functie krijg ik inzicht in verschillende zaken met betrekking tot de faculteit. Denk hierbij aan de begroting, het curriculumbesluit en de statuten. Over deze documenten schrijf ik vervolgens een advies, om er natuurlijk voor te zorgen dat er niet wordt bezuinigd op de kwaliteit van het onderwijs!

Carlijn Kingma // commissaris MSc Als vijfdejaars student, Master Architectuur, loop ik al vier jaar mee op de faculteit en hoor ik veel geluiden, zowel positief als negatief, over vakken, projecten, docenten, en ga zo maar door om mij heen. Ik ben FSR gaan doen om te kijken of we door het vertegenwoordigen van de mening van de student, het onderwijs en de randvoorwaarden op Bouwkunde, en voor mijn functie specifiek in de Master, kunnen verbeteren.

Tom Hemmes // commissaris gebouw Vanaf dit jaar wordt er veel verbouwd aan Bouwkunde, het gebouw staat in de steigers. Om te zorgen dat de studenten hier zo min mogelijk last van ondervinden houdt de FSR een vinger aan de pols. Eigenlijk is de commissaris Gebouw verantwoordelijk voor alle facilitaire zaken, zo ook ICT, wat valt er te verbeteren aan de software en hardware binnen Bouwkunde? De reden dat ik bij de FSR ben gegaan is het feit dat ik nu mijn kritiek kan omzetten in verbetering ten diensten van alle studenten.

Matthijs Bon // commissaris Promotie en Communicatie Ik ben Matthijs, commissaris Promotie en Communicatie van de FSR 2013-2014. Ik ben derdejaars student en op dit moment voor mijn minor een stage aan het lopen bij WAM architecten in Delft. Daarnaast ben ik actief bij volleybalvereniging Punch. Ik ben de FSR gaan doen om meer te weten te komen over de interne zaken in de faculteit en om inzicht te krijgen hoe onderwijs gegeven wordt en welke verbeteringen mogelijk zijn.// The FSR is het faculty student council of architecture and the build environment. Every year a new group of students gets voted into the council and tries to work on improving education and facilities on the faculty. Main focus points this year are the renovation of the faculty and the new bachelor curriculum.

v.l.n.r.: Tom Hemmes, Denise de Blok. Tom Scholten, Lisa ten Brug, Matthijs Bon, Carlijn Kingma, Steven Zijlstra

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grote reis

chronicles of Malaysia This year as part of Grote Reis, Stylos organised a trip to Singapore and Malaysia. 28 students participated, and brought back experiences of architecture, food, and the cities. Included here are three accounts of particular days during the trip.

Swimming pool at Marina Bay Sands, Singapore

Colonial Singapore Marthe van Gils The morning of our third day in Singapore, we took the metro to the part of the city that was had been colonized by England. We first visited the National Library, a sixteen-story building with multiple rooftop gardens that offer stunning views over the city. It was designed by Ken Yeang Architects, the office we had visited the week before. Later, we continued our tour to the nearby shopping mall Iluma, which has an impressive high-tech façade. After having coffee and browsing the boutiques, we explored the Sultan Mosque on the Arabic street. It made a big impression on me, because of how Western Neoclassicism merges with traditional Islamic architecture. The nearby Arabic market was also a very new experience, offering all sorts of traditional Malay food. In the afternoon, while walking along the Esplanades, we visited the Theatres on the Bay: two dome-like structures, housing a concert hall and theatre hall. More than anything else, it resembles the durian fruit, a smelly local


delicacy. “It smells like hell, but tastes like heaven” was how our tour guide described the fruit. Durian-like skin was quite impressive from outside, but once we entered, our excitement subsided. The interior was quite oldfashioned in the view of the Dutch students. It could be because two different architects were responsible for the design – one for the façade, and one for the interior. Nevertheless, it was worthwhile to visit, if only for this surprise. To end the day, we had a tour by Jack Breen, head of form and model studies at TU Delft. He took us for a drink next to a tiny Armenian church and for a walk to the Padang (field) – originally used for croquet games, but nowadays a nice park. Here you can still find the exclusive Singapore croquet club, which you can only enter if you are a member. This club is characterized by its colonial British architecture. The Padang showed us a stunning view of both the historical architecture of Singapore in the front, and the modern skyscrapers in the background. We ended our tour at the Raffles Hotel. We had a sneak peek through the main entrance, and we were amazed: the

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place looked like time had stood still for 100 years. Unfortunately, we were not allowed to enter the hotel itself, but a walk through the gardens gave us a good impression of its exclusivity; it costs at least 1000 SGD (590 euros) to stay there for one night, and a “Singapore Sling” cocktail at the bar costs no less than 40 SGD (24 euros)! This amazing day could not have ended better than with a visit of the modern Marina Bay Sands hotel. We first entered the rooftop at the touristic side, but in a short time we managed to get possession of guest straps, and some lucky students were able to enter the infinity pool. While the sun was setting, we couldn’t do anything less than enjoy the unbelievable skyline from this rooftop in Singapore. //

Taman Negara vs. Crew Delft Jort Westinga and Ilse Galama Our first night in Taman Negara was spent in the darkness of the jungle, among insects and animals of every variety and size. Walking in the moonlight in a completely strange world,

Crew Delft supported our trip to Malaysia

it occurred to us that the greatest threat to our adventure should not be the tarantulas or grasshopers, but the troops of humans wearing white socks in sandals, swimsuits and Hawaii-shirts, otherwise known as “the Dutchies.” The following morning, our group was split into three subgroups for a hike through the jungle. After morning gymnastics, the medium tour-group started their journey to the top of the mountain. We started walking at the easy side of the mountain - on our newly bought shoes from Crew Delft – and our first challenge was crossing the bridges among the tree canopies. Once we were at the top of the mountain and had enjoyed the view for a while, the real challenge started: unpaved paths, steep shortcuts, hidden stairs, mud and insects overwhelmed the descent. Without the support of our newly bought gadgets, first aid box, zip-off trousers, caps, backpacks and shoes at Crew Delft - the adventure store at the Brabantse Turfmarkt in Delft – our journey would have been much harder. Thanks to Crew Delft we managed to stand upright and leave the jungle while maintaining our dignity.//

Marina Bay Sands Lianne Siemensma It’s July 8 and I’m waiting with my huge backpack, in line for customs at Schiphol. Then, when I’m slowly moving forward, suddenly a big man of the Marechaussee looks at me with an angry face, while I quickly give him my passport. ‘Where are you going to, Miss?’ He asks me. ‘Dubai, Malaysia and Singapore, Sir’, I respond, a bit scared. He takes a look at my passport and then his angry face suddenly makes place for a big smile: ‘will you go to that beautiful swimming pool at the Marina Bay Sands?’ ‘Yes I would like to, Sir, but I’m not sure how to sneak in’. Then he laughs back at me and says ‘Oh, I can help you with that!’ And in no time I’m listening to the big man of the Marechaussee give me a detailed description of how to sneak into the famous Marina Bay Sands swimming pool. In the meantime, the queue behind me is getting longer and longer… Exactly two weeks later, the time has come and Marthe and I are preparing our battle plan one more time, in the room of our hostel: We would like to sneak in through the casino, take

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the elevator to the top floor and then smuggle ourselves into the pool. When we were just about to board the subway to the Marina Bay Sands Hotel, suddenly a couple of boys from our group came walking towards us with a big smile on their faces: ‘Girls! We just swam in the infinity pool’! Full of enthusiasm they showed us their wristbands and they told us proudly how they had managed to get into the pool before we did. Less than a half hour later, Marthe and I were also floating in the lovely warm water on the roof of the hotel with our ‘borrowed’ wristbands from the boys. What an experience and what a view! The boys also told the rest of the group how to get into the pool and the following nights we were swimming with the entire group at the pool: people were drinking beer at the hot tubs, enjoying the view and of course making some necessary ‘selfies’. Spontaneously a new version of “Sittin ‘on the dock of the bay’’ by Otis Redding was written: ‘’Swimming on the top of the bay’’. What a highlight and what a lovely end to a great visit to Singapore!//


meer dan alleen een feest

het bouwkunde gala Nanette Lim

De studente opent haar postvak en ziet een blauwe brief liggen. Zal het dan echt waar zijn, denkt ze? Ze pakt de brief uit haar brievenbus en ziet de zilveren letters staan, Het is echt waar, ze wordt gevraagd voor het gala. Ze nodigt de jongeman uit voor een kopje thee met een roze brief met gouden letters. De thee zet ze op tafel, de koekjes laat ze in de keuken staan als verrassing. Op tafel staat een bos bloemen, precies in de kleur van haar jurk. De bos bloemen geeft informatie over de kleur van haar jurk zodat hij het corsage hierop kan aanpassen. Als de bel gaat haast ze zich naar de deur. Ze nodigt haar date uit om binnen te komen, biedt hem thee aan en ook haalt ze de zelfgemaakte koekjes uit de keu-

Op de pasdag van Budget-Tie wordt er voor gezorgd dat je netjes voor de dag komt in een rokkostuum of lange jurk. Pluspunt daarbij is dat Budget-Tie rekening houdt met de studenten portemonnee. Zo kun je voor een goed prijsje je outfit scoren

ken. Zelfgemaakte koekjes, de manier om een uitnodiging voor het gala te accepteren.

over blijft om samen met je date of vriendengroep heerlijk te gaan dineren.

Het bouwkundegala is een goede reden om deze vraagactie te ondernemen. Stylos bestaat 120 jaar en dat moet gevierd worden met een feest! Op 14 december zal dit monumentale gala plaatsvinden in de Haagse Toren (Strijkijzer) in het penthouse op de 42e verdieping. Een locatie die een chique feest mogelijk maakt met een ontzettend gaaf panorama uitzicht op Den Haag, Scheveningen, Leiden en Delft. Daarnaast zal de drank rijkelijk vloeien, aangezien dit zit inbegrepen bij de koppelkaartjes, en als kers op de taart kun je de volgende ochtend uitgerust wakker worden in een van de exclusieve hotelkamers op de 39e verdieping, en nagenieten met een heerlijk ontbijt.

En dan begint het lustrumgala echt. Vanaf elf uur openen de deuren zich op de begane grond van De Haagse Toren. De spanning stijgt, de jassen mogen uit en de jurken mogen geshowd worden. De lift zal je in precies veertig seconden naar de 41e verdieping brengen waar de fotograaf op je staat te wachten. Zo’n mooi en monumentaal moment wil iedereen natuurlijk op de gevoelige plaat vastgelegd hebben. En dan is het eindelijk zo ver; The Penthouse, het uitzicht, het gala. Een avond die je nooit meer zult vergeten!

Maar het bouwkundegala is meer dan een feest alleen. Om je goed voor te bereiden op dit spectakel staan er de komende tijd nog een paar andere, bijzondere activiteiten op de planning! Eén hiervan is de etiquettestijldansworkshop. Een avond waar stijldansles wordt gegeven en overige etiquette over het gala worden toegelicht. Overigens ook een uitgelezen kans om een last-minute date te scoren voor het gala.

“De lift zal je in precies veertig seconden naar de 41e verdieping brengen waar de fotograaf op je staat te wachten. ” Foto door David Bowman


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Ook op de dag zelf zijn er nog genoeg mogelijkheden om in de galastemming te komen door bijvoorbeeld op eigen gelegenheid deel te nemen aan de whisky- of champagneproeverij. Daarna blijft natuurlijk nog genoeg tijd

De galacommissie wil jou van harte uitnodigen om naar het gala te komen. Kom dus snel langs op Stylos om je kaartje te bemachtigen.// This year D.B.S.G. Stylos is celebrating their 120th anniversary and that means the 24th lustrum celebration. With this special celebration comes special events, like this monumental lustum gala. This lustrum gala will take place in The Penthouse of the Hague Tower (“strijkijzer” skyscraper next to The Hague HS) on the 14th of December.


lustrum column

dies week

symposium committee

Lisa Oosterwijk

The third week of February will be the so-called ‘DiesWeek’. 24 september Lustrumstunt The official birthday of the association, in which a lot of architecture-related activities, lectures and workshops will take place. The theme for this lustrum year is Monumental, and all activities will bear a relation to this theme. During the DiesWeek, the Symposium Committee will organise four lectures, which will serve as a timeline through various forms and types of monumental architecture, from the ancient past to the present and the future.

u bent hier 14 december Bouwkunde gala

31 januari t/m 9 februari SKILOS

The first lecture will be an introduction to the theme of the week, and will take a closer look at questions such as ‘What is monumental architecture? What exactly is the difference between monument, monumental and monumentalism?’ The second speaker will take the audience through a history of monumental architecture from the viewpoints of different societies and cultures. What are the differences between monumental architecture in the West and the East? Is there a recipe for a monumental building or city? If so, what is it? How have monumental buildings changed over the centuries? What was the reason they were built then, and what is the reason they are built now? We also travel to the present, on the third day of the week, which will be discussing the popular RMIT (Renovation, Modification, Intervention, Transformation). More and more buildings these days are re-purposed, modified and transformed. How does this happen, and why is it important that this happens at all? The week is concluded by a discussion about the monumental architecture of the future. Why exactly are monumental buildings built? Is it even ethically responsible to have ‘monumentality’ as a priority above aspects like, for example, sustainability? Should monumentality be a goal of architecture at all?//

Dit jaar viert Stylos haar 120ste verjaardag, ofwel het 24ste lustrum. Dat maakt Stylos een van de oudste en langstlopende studieverenigingen van de TU Delft, iets waar we trots op mogen zijn. We gebruiken dit feestjaar om terug te blikken op de afgelopen vijf jaar en om vast vooruit te kijken naar een nieuwe periode. Natuurlijk vormt deze mijlpaal ook een goede aanleiding om de Dies, de verjaardag van de vereniging, extra uitgebreid te vieren. Het lustrumjaar staat in het teken van ‘Monumentaal’. Dit thema kom je het hele jaar tegen bij alle lustrumactiviteiten. Het jaar startte goed met de openingsstunt op 24 september. De middag begon op ludieke wijze met onder andere een stormbaan en werd afgesloten met een borrel. Letterlijk een monumentaal hoogtepunt is het bouwkunde gala op 14 december. Alleen al vanwege de locatie: de penthouse van de Haagse Toren van waaruit we op 120 meter hoogte een hele avond kunnen genieten van muziek, drank en prachtig uitzicht. Een veelbelovende avond!

13 februari Dies feest 17 t/m 21 februari Dies week

29 februari Theater ‘Delftse Lente’ 1 maart Theater ‘Delftse Lente’

eind maart 24H workshop

mei Monumentale lezing

half mei Record poging met Gezelschap ‘Praktische Studie’

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Na een korte rustpauze gaan we vervolgens in februari weer goed uit pakken. In de voorjaarsvakantie vertrekken we met 64 man naar Frankrijk voor 10 dagen wintersport. Bij terugkomst barst het pas echt los met op 13 februari onze Dies met bijhorend feest. Aansluitend zal op 17 februari de Diesweek beginnen. Deze week vol lezingen, workshops en symposia zal het thema ‘monumentaal’ vanuit verschillende invalshoeken belichten door middel van een reis door de tijd. Om onze verjaardagsmaand goed af te sluiten is het op vrijdag 29 februari en zaterdag 1 maart tijd voor een echt theaterstuk in de faculteit. Dit theaterstuk met als titel ‘Delftse Lente’ behandelt de democratisering en de studentenprotesten in de jaren ’60 en ’70, toen de faculteit bezet is geweest, en maakt daarbij een koppeling naar het heden. Met een regisseuse, een cast, een heus designteam voor decor en kostuums, de oranje serre als podium en een hele enthousiaste commissie belooft dit een waar spektakel te worden. Na februari is het nog niet afgelopen met de lustrumactiviteiten. Zo staan er onder andere nog op de planning een lezing van een grote spreker en een activiteit met het Gezelschap ‘Praktische Studie’, ons nichtje van Civiele Techniek die dit jaar ook haar 120ste verjaardag viert. Genoeg om naar uit te kijken dus! Wij hebben er in elk geval heel veel zin in en hopen er met jullie een heel mooi monumentaal jaar van te maken.//



‘‘We don’t need no education We don’t need no thought control No dark sarcasm in the classroom Teachers leave them kids alone Hey! Teachers! Leave them kids alone! All in all it’s just another brick in the wall. All in all you’re just another brick in the wall.” Another brick in the Wall - Pink Floyd

In Pink Floyd’s The Wall, an auditorium is filled with schoolchildren singing against the harsh treatment of their teachers. ‘Another brick in the wall’ can be interpreted as a cry against ways of schooling or, pushed to the extreme, against any form of government-mandated education. The children are represented as faceless, generic subjects who could recite the definition of an acre, but cannot produce an original, imaginative thought. The image expresses fear of brainwashing through the education system, and frustration with an oppressive authority.

This scene provokes a discussion about the contradiction of education: while it offers the possibility to develop knowledge and skills, it also risks compartmentalizing our thinking and placing us in a particular frame of mind. Continued throughout our schooling, the graduate effectively becomes a result, or product, of a particular school of thought. Although architectural studies are designed to stimulate our creativity and aims to distinguish us from the masses, universities inevitably frame a particular approach, simply because

of the dependence on design teachers to guide a project. This contradiction is made still more important by the fact that, today, it is impossible to become an architect without a university degree. This image has been chosen to open a debate about the influence of teachers and their methods on the design process, on how this process becomes understood by students, and on what experiences are given value in contributing to the formation of an architect. Additionally, the breadth of the architectural

education is brought into duscussion, especially in how it affects the way in which we approach our everyday reality. This last point brings us back to the Wall. It was based on the life story of the writer of the screenplay, Roger Waters (the bassist and lyricist of Pink Floyd), who also has an architectural education; it left a clear mark.//

iconic projects

image disappoints While we know by now that strong form and image are sometimes achieved at the expense of human scale and attention to the interior experience, the lesson becomes all the more vivid when experienced in reality. The Caixa Forum in Madrid and the Infinity Tower in Dubai are a case in point. Bernard Oussoren An architecture trip to Dubai, Malaysia and Singapore is a trip of extremes, and combining all three gave us a unique opportunity to compare places and form our own opinions. For example, while in Dubai (at the start of the trip) I noticed it feeling empty and unorganised, but only after visiting Kuala Lumpur and Singapore I could pinpoint where the problems were coming from with much more precision. Dubai wasn’t the city I was expecting it to be. For the casual visitor Dubai could seem like a state of the art utopia, filled with enchanting fountain shows and luxurious shopping malls. But for me, nothing could be further from the truth. I couldn’t help but notice the underlying lack of proportion and imagination. The few elegant buildings might look spectacular from a distance, but seemed misplaced and almost rushed to the finish up close. And with little interaction with the public space it didn’t feel like a city in the desert, but a desert in a city. It’s peculiar how differently Singapore developed in about the same time span (Singapore declared its independence in 1965 and in 1966 oil was found in Dubai). The focus has been on making the city sustainable, interactive and stimulating. This really shows, as the lush green streets and intelligent architecture add up to the liveability of the place. Careful urban design went into the city plan, making it enjoyable from the pedestrian’s perspective. The city doesn’t feel as if it forces pseudo-landmarks upon its visitor, abandoning all human proportions. It feels inviting and healthy. I think that as architects, we have a certain responsibility towards the users and the environment the our buildings create. We need different lenses to see through, not just the one of the client who wants to stand out in the crowd. In my opinion, architecture is more about sending a positive message and connecting people, and less about who can build the tallest tower in the world.//


The real Dubai

The Infinity Tower

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Isabel Potworowski In October I went to Madrid with the Interiors graduation studio to observe and learn from well-designed public places. Among the projects we visited were West8 and MRIO’s Madrid Rio, Jean Nouvel’s addition to the Reina Sofia museum, and Herzog and de Meuron’s Caixa forum. This last building left me unexpectedly disappointed. The concept of the forum is to lift the historic building, creating a low space underneath where one would feel the weight of the lifted building. It was also meant to provide shade in Madrid’s hot climate. The building’s strong image clearly shows the concept, with the edges of the building cantilevered dramatically. However, the space underneath felt claustrophobic. It’s only open on two sides, and functions more as a passage than a covered square. The space in the back is below street level, and is uninviting; I was told that it is almost always empty. It is too low and too dark, the lifting gesture being too drastic for what it achieves. The difference between what I expected and what I experienced becomes clear when comparing photos of the project from Dezeen with my own photos. Caixa Forum as shown on Photo by Duccio Malagamba

Inside, the interior furniture is “hung” from the ceiling by steel rods (expressing the concept of hanging and cantilevering). But it then becomes inflexible, and most of the furniture is touching the floor, anyway. The café on the top floor was also different from what I expected. The perforated corten steel used for the top of the forum looks impressive from the exterior, but obscures the view to the city from the café’s interior.

Space under the Caixa Forum, from my own visit to Madrid

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From the magazines, and popular websites like Archdaily and Dezeen, I hadn’t realized these aspects of the building. I often assumed that buildings from well-known architects are automatically good examples to emulate in my own work; however, the experience in Madrid made me realize how important it is to visit and experience the architecture that I use as references for my own designs, and to choose references more critically. //


A collaged section produced during the research in the Westland showing the church as a pitch for various events and the different spatial perceptions theybring along. credits: Laura Linsi

methods and analysis

ways of doing Laura Linsi

The new master studio Ways of Doing teaches the students the importance of the design process and offers them the time and freedom to reflect on their doings and to try out new ways of doing. This semster the studio is investigating the Westland. The studio ‘Ways of Doing’ is the MSc1 studio within the newly introduced chair Methods and Analysis. The studio largely “aims to be a laboratory for students who want to explore pioneering ways to analyse, understand and intervene in the built environment”. It is about challenging oneself to explore the variety of ways of doing, about being conscious of specific design decisions and about trying out methods in order to find the most suitable one. Professors Tom Avermaete and Klaske Havik guide the students through a

four of the twelve students taking part in the studio this semester. The best thing about a brand new studio is that, even having read the online course description, nobody fully knew what to expect from their first semester as a master student. Everybody began with a different interpretation of the available information and a different perception of what they would be doing.

thoroughly analysed process of researching and designing towards a completed architectural project. Having just completed the first quarter of the studio, I found it interesting to compare my experience to that of the other students. We discussed our reasons for choosing the course, our initial expectations, and what valuable knowledge we have gained from it.

When I told my friends from other schools that I would be doing a studio called ‘Ways of Doing’ from a chair called ‘Methods and Analysis’, their immediate reaction was to ask if I had decided to quit architecture or if, at least, I had switched to architectural theory. This perspective is shared by many students who chose not to take this studio; they think that the studio has nothing to do with architectural design.

The Name

I discussed with Antje Adriaens, Quan Phitakraxanti, Kasia Uchman and Thijs Flore,

For better or for worse, the name of the studio is catchy; it is simultaneously slightly misleading and very revealing. Firstly, as opposed to the more traditional “descriptive” studio titles, this one says nothing about what will be designed. This choice reveals that the studio is not centred on a final product or even, in my darkest dreams, a studio with no final product at all. Secondly, despite the ambiguity of the title, it is a fact that it does belong to the long list of TU Delft architecture design studios, meaning that somewhere between the words ‘method’ and ‘analyse’, there has to be space for design. The name does say a lot about its carrier. “Ways of Doing” is by no means a traditional resultcentred architecture studio - it is a lot about rethinking, asking questions, focusing on the process and reflecting on one’s doings. However, it is essentially an architectural design studio, thus the thoroughly analysed process does lead to an architectural project. >>

a method One of the themes introduced by Klaske Havik and Tom Avermaete during the research process was the narrative. The theme was explored on a generative as well as on a reflective level and the students were asked to use it in one way or another in their research of the Westland. One group focused on researching the greenhouses (Hinke Majoor, Tadeaš Riha, Kasia Uchman) built a model using a variety of materials representing their perception of the different landscapes in the Westland. They covered it with a black cloth and asked others to touch the model and to draw their own perceptions based on what they had felt accompanied by characterising words.

Top: students taking part in the research. Middle: the inside of the model. Bottom: the compilation of all the perceptional drawings. The dense spots indicate the recurrence in the ways the parts were perceived.

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The Process Antje did her bachelor’s degree in industrial design, where she received an education much more focused on process than is usual in architecture; having to constantly reflect on herself is nothing new for her. Furthermore, for her it is incredibly important to be able to design and guide the process towards a final design herself, and to be extremely conscious about the methods she is using and why she is using them. She chose the studio to explore the design process in architectural design, and she likes that it gives her the freedom to choose her methods based on her own personal fascinations; instead of designating a particular approach for the whole group, the studio guides the students through the methods they personally chose.

The Self-reflection When I asked Kasia what she values in this studio, we discussed something that is very important to all of us – self-reflection. Kasia is interested in big public buildings and infrastructures. Thus, she sees herself working

to design a meaningful building is merciless. Time is consumed by production and working towards a set goal, hardly leaving enough time to think back and reflect. In this respect, “Ways of Doing” is very different. Researching and designing receive an equal amount of time, making self-reflection an important feature of the studio. One has to constantly be aware of why he is doing things in a particular way, and of his position in the process. If this reflection becomes embedded in a young designer, it is clearly easier not to lose himself in the hectic work of the architecture office.

The Reality Quan is from Bangkok, Thailand, and when I ask her who she wants to be after she graduates, she tells me about her predefined future as an architect. Her father is an architect, her brother is a structural engineer; there is no question that she will one day take over her father’s office, and she will try to make the best of it. The reason why she chose “Ways of Doing” is as pragmatic as her overall approach to her future profession: she wants to learn how to incorporate creativity into

”Researching and designing receive an equal amount of time, making self-reflection an important feature of the studio. One has to constantly be aware of why he is doing things in a particular way, and of his position in the process.”

A collaged section depicting the changing nature of the greenhouses from gardening towards horticultural factories. credits: Antje Adriaens


in a medium-sized office that designs these buildings, and hopes to establish an office herself one day. When I ask her if she is not afraid of losing herself in this type of office, she says she is conscious about the risk but it is important to find her way through it because that is the only way to designing what she is interested in. And then she adds that it is easy to lose oneself at school too. There are a lot of exciting studios that universities have to offer, some of which are based abroad and include a study trip that is exciting already in itself. These studios are unquestionably fascinating and they stimulate one’s creativity, but the timeframe to get to know a new culture, a new site, to conduct research about it and

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the process of designing a building. She says that the reality is tough; the architect has so many factors to take into consideration in so little time that if he manages to break through them and deliver a project on time, he is lucky if he still remembers the word ‘creativity’ afterwards. Quan says that ‘Ways of Doing’ has definitely been stimulating her creative side and it has introduced her to a different approach to designing. However, she points out that the time we spend on self-exploration and research in the studio is incomparable to what can be afforded in most offices. Currently, she is searching for a way to bring those two together.//

what’s next?!

in debat met de toekomst Joris van Dijk & Maarten van Zutphen

Bang om af te studeren, dat is wel eens anders geweest. Aankomende architecten die niet weten wat ze moeten doen als de laatste dag van hun studentenbestaan dichter bij komt. Het behalen van een diploma heeft nog nooit zo dubbel gevoeld. De architectenbranche is door de crisis zwaar getroffen en ten opzichte van 2008 zelfs gehalveerd. Een maatschappelijk probleem, maar niet in de laatste plaats een persoonlijk probleem voor de gemiddeld 100 studenten die ieder kwartaal de krappe arbeidsmarkt op moeten. Waar zien we deze mensen over vijf jaar terug? Zoekende naar een aanzet voor mogelijke antwoorden en oplossingen, organiseerden wij vanuit onze afstudeerstudio Explore Lab het debat what’s next?! Samen met medestudenten en alumni, gingen we het

brede vermogen deze vraagstukken vanuit verschillende visies te benaderen en op te lossen, zijn zeer waardevol en kunnen op veel manieren worden toegepast. Afhankelijk van je talent en ambities kies je met deze ‘skill set’ welke rol je aanneemt binnen de bouwkundige wereld, of misschien wel daarbuiten. In tijden van crisis moet je jezelf continu blijven innoveren; de studie is een aanloop, maar het leerproces gaat door.

gesprek aan met vertegenwoordigers uit het bedrijfsleven en het onderwijs over de toekomst van de Delftse architect.

ondernemende en gedreven ontwerpers met een sterke mentaliteit en scherpe visie. Niet alleen individuen, maar ook bureaus gaan zich steeds meer specialiseren en kunnen door die focus een eigen identiteit behouden. Op deze manier kan een bedrijf zich ontwikkelen tot eigen adviseur, waardoor specifieke kwaliteiten worden nagestreefd binnen thema’s als gezondheidszorg of onderwijs. Cepezed legt de nadruk meer op het bouwtechnische gedeelte; door architectuur industrieel te ontwerpen waren zij instaat om zelf de aannemersrol op zich te nemen. Maar er beginnen zich ook andere vormen van ondernemen te verschijnen. Rudy Ricciotti, een Franse architect, stelt voor ieder project zijn eigen team samen om zo vanuit een eenmanspositie ook grote projecten op te kunnen pakken. Het bouwproces is aan het veranderen en de structuur zoals we die kennen van de afgelopen jaren is op losse schroeven komen te staan. Genoodzaakt door de crisis zal de architect zich anders op moeten stellen; waar hij vroeger vanuit zijn professionaliteit ‘top-down’ opereerde, zal hij zich nu dienstbaarder moeten opstellen om als een manager tussen de verschillende partijen te kunnen staan. Door de dialoog aan te gaan met opdrachtgever, gebruiker en uitvoerenden, zal de architect belangen behartigen als vertegenwoordiger van de gebruiker en het proces.

Studenten blijken weinig kennis te hebben van de realiteit. De vraag is of een nominaal afgestudeerde student met hoge eindcijfers ook mee kan draaien in een praktijk gestuurd ontwerpproces. De ervaring mist om de verschillende lagen en belangen te kunnen onderscheiden. Nevenactiviteiten en initiatieven buiten het gegeven curriculum zijn dan ook niet langer een pre, maar absolute noodzaak geworden om jezelf te kunnen profileren in de overvloed aan mensen met een gelijk diploma. Een relatief korte uitstap van bijvoorbeeld een stagesemester, doet zoveel meer met een student dan jaren werken aan gesimuleerde studieprojecten. Het besef van constructie, bouwtechniek, budget en werken met andere partijen is iets wat een groot deel van de afgestudeerden mist. Het duurt daarom vrij lang voordat deze ‘architecten’ kunnen worden toevertrouwd aan de complexiteit van de praktijk. De belangrijkste boodschap van de zes sprekers is dat je gedreven door ambities je eigen weg moet volgen. Zo leer je hoe alles echt in elkaar zit, waar je goed in bent, wat je leuk vindt, maar ook waar je beperkingen liggen. Op deze manier ontwikkel je een zo breed mogelijke fascinatie en kun je vanuit je sterke punten werken aan jouw specialisatie als architect. Kernkwaliteiten die we tijdens de studie hebben ontwikkeld, zoals het in kaart brengen en formuleren van problemen en het

Uit het debat blijkt dat er vooral vraag is naar

Crisis is de huidige realiteit, we moeten nu meer dan ooit de kansen pakken die op ons pad komen. Wie hier bij zoekt naar zekerheid komt bedrogen uit. Weinig banen, tijdelijke contracten en de veranderende rol van de

s t y l o s // e d u c a t i o n // g e n e r a l

architect, vragen om eigen initiatief, creatief denken en lef hebben. Alles uit je handen laten vallen en zonder direct plan naar het buitenland vertrekken of een uitstap maken naar een andere beroepssector, kan tot vele nieuwe inzichten, mogelijkheden en persoonlijke groei leiden. In plaats van onbetaald werken als stagiair bij een gerenommeerd bureau, opent dit daadwerkelijk nieuwe deuren en ontdek je wie je bent en wat je kunt. Belangrijk hierin is hoe jij jezelf in deze wereld ziet en misschien nog wel belangrijker: wie wil je zijn? De ambitie om vooral niet een beroemd architect te willen worden staat centraal; maak bewuste keuzes die passen bij jouw competenties. Pak de uitdaging, maar wees wel realistisch. De maatschappij heeft behoefte aan mensen die op de goede plek buiten de kaders kunnen denken. Wij zijn nu zelf aan zet!// October 3th two Explore Lab students organized a debate on the future of the Delft architect. The crisis hit our sector hard, leaving graduates with questions and even fear about their prospects. Key representatives were invited to our faculty to engage in conversation with students and alumni on this burning topic.

“Weinig banen, tijdelijke contracten en de veranderende rol van de architect, vragen om eigen initiatief, creatief denken en lef hebben. ”

v.l.n.r. Eric Luiten, Jan Tilman, Henk Döll, Jan Pesman, Willem Hein Schenk en Nanne de Ru


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Ernst Mahler

design teaching

van gezel tot meester

Isabel Potworowski

How do architects design, and how can it be taught? In the course Van Gezel tot Meester (from apprentice to master), Elise van Dooren uses her research on this topic to teach students how to make design explicit. Four students discuss what they learned about the design process. What were you looking for in this course? Nina Verkerk: During my bachelor, I had the sense that the teachers knew something that I didn’t. I took one year to work in Stylos, then I studied mathematics for a year, but I still couldn’t place my finger on it. When I heard about Van Gezel tot Meester, I hoped I could find it there. Mitchel Verkuijlen: Teaching was something I had never done before, and I hoped that it would help me improve as a designer. Thomas Verbrugh: I was mainly looking for a way to learn more about my own design process. Furthermore, there’s also something in me that likes to explain how something can be done – I was trainer in field hockey for two years. Mieke Vink: I hoped that the course would give me more control over my design process. What were the most useful design methods and techniques that you learned during the course? Nina: I learned to switch between the five domains faster, simply by becoming aware of the framework. Before, I was working in a linear way, and found myself focussing too much on the plan. Now, I can switch faster to construction or materials, and to drawing perspectives to see how the various elements relate to the overall composition. Mitchel: One of the most useful things I learned was how to make use of reference projects. I used to consult them too early in the design process, and I found it difficult to avoid simply copying them. Instead, it’s better to start with a strong analysis and a defined concept. Then, the references are used as useful added information. Also, I learned that when I’m struggling to define a concept, I can take a different approach to design – starting from materials, for example. The framework is useful for looking at the problem from different angles.

Thomas: Firstly, I learned to jump between the different domains more easily. Before, I worked in a linear way from urban design to details, and often got stuck when I had to design the façade. But by switching between the different domains and scales, I now can stay aware of the big picture. With the longer timespan of my graduation project, jumping to, for instance, the domain of materials is more

thought that there was a better solution. But in this course, we were told quite early that everything should relate to a central theme. Although I sometimes found it difficult (it wasn’t always the most beautiful solution or the one that ‘felt right’), having this criterion gave me more freedom, in the sense that I wasn’t searching for the one, perfect solution. Having the freedom to interpret the design task in my

“Before the course, I found it difficult to make design decisions because I always thought that there was a better solution.” about the course In the first part of the course, students completed three two-week design assignments, for which they had to develop small projects beginning from concept and ending with details at the 1:5 scale. Workshops and lectures focused on teaching the design process, with a focus on the frame work of five “generic elements” that Elise has developed: (1) experimenting or exploring and deciding, (2) guiding theme or qualities, (3) domains (form and space; material; function; physical context; social, cultural, historical and philosophical context), the frame of reference or library, and (5) laboratory or visual language (writing, drawing, model making). The second part of the course put this material to practice in teaching the first year studio.

difficult; however, it is important that I know that there are five domains – just by knowing, switching becomes much easier. My design process also became much more reflective by making a lot of variants in each domain. It became a real testing lab. There was more material for discussion, and decisions were more thought-out. Mieke: Before the course, I found it difficult to make design decisions because I always

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own way also makes the design more personal. The course also taught me useful lessons in interaction. In the first part of the course, we had small exercises of five to ten minutes where we had to teach other students in the course. Because it’s difficult to structure the work of a student who’s at your own level (the first years, in comparison, are quite shy and insecure), the tutoring became more a conversation than teaching. Although it was difficult to think ahead of my classmates, it taught me that it’s helpful to discuss my own projects with other students. I think we tend to be very individual; there’s a lot of competition. How does this design approach compare with your previous education at TU Delft? Nina: In my bachelor, my teachers taught me how to do work on the various aspects of a design, but not why I had to work on them. So while I was already using the framework, now I’m more aware. Mitchel: The Delft approach teaches that if you start with a strong concept, the rest will come. But it was useful to learn that materials, for instance, could become a starting point for defining a guiding quality or theme. Also, In my bachelor, we discussed concept, materials, and other aspects of design, but they weren’t placed in the broader context of the design framework. It’s also useful to compare Elise’s >>


framework with what I’m doing in the Interiors graduation studio. During our workshop, we were asked to consider the themes of shelter, structure, light, and ground – so perhaps the choice of domains or framework is, to an extent, project-dependent.

be said that later in the design process it’s important to ask, “Is this also the most beautiful solution?” or “Do I feel good about this solution?” because, perhaps, the concept doesn’t yield the best solution on certain aspects of the design.

Thomas: Firstly, the framework allows switching between domains, which is different from the Delft quite linear design process, where the important so-called “concept” is usually based on form. What it has in common with the Delft approach is teaching how to relate everything to the concept in order to make a strong argument; however, sometimes a decision should be based on other criteria,

How did you apply what you learned to teaching? Nina: I enjoyed teaching. At first, the most difficult part was helping with details, because it isn’t one of my strengths. But most of the time their questions were very basic – it was their first time drawing details, after all. I sometimes recommended websites for details, giving them a wider frame of reference. A

“the framework allows switching between domains, which is different from the Delft quite linear design process, where the important socalled “concept” is usually based on form.” for instance beauty or a certain sense of space. The size of windows in this room (espresso bar BK), for instance, were probably not chosen to fit a concept. It had more to do with the standard sizes of windows, and which one felt better. As well, I do not think that a design only has one concept – there are always several. Mieke: In the Interiors studio, we didn’t focus on hanging everything on a concept, and this openness gave us a broader vision, allowing our research to be more varied. While applying a central concept to every domain is helpful for a basic set-up of the project, it should also

useful exercise was filming ourselves teaching, and watching our own videos. Often I thought I had made something clear, then I saw the student’s reaction on film and told myself, “hmm…I don’t think she understands it.” So I have to ask the student, “Do you understand what I’m saying?” or “Repeat it in your own words.” Mitchel: The subjective nature of design makes it hard to talk about, and the framework was very helpful in this regard. Breaking the design process down into its constituent elements allowed me to see what was missing in a stu-

dent’s design process. If they were stuck in one domain, I would suggest that they look at a different aspect. The designs became much richer when the students looked at them from many different angles. Thomas: The most interesting part of teaching was learning how to interact with students. In the first part of the course, we had lectures and workshops where we learned how to give feedback, how to express ourselves, how to give information to students, and how much information to give. The lectures taught me how to guide the student’s project instead of letting my own view dominate - for instance, by drawing several variants instead of giving only one suggestion. Part of guiding a project also entails estimating at what level the student is; if he can make variants by himself, then I do not have to show him any. Also, when interacting with the student, it is important to know that the one big question – “Why?” – is the wrong one to ask, because it makes the student doubt. Instead, it’s better to ask, “If you do this, what then?” It is also very important to have a structure in tutoring, and to conclude for the student at the end. Because often when I ask a student, “What are you going to do next?” they do not know. So a tutor has to be very explicit about what is good, and what needs more attention. In this sense, tutoring is not really about what I know, but more about interaction and guiding. Mieke: The tutoring was largely about having a certain creativity in interpreting the student’s work, something I enjoyed very much. It’s a different creativity than the one I’m used to, because it’s not about coming up with ideas myself, but interpreting what I saw. Especially in their first years, students often find it difficult to put things down on paper. There would be several lines drawn, and we would start from there, finding a concept together. I learned to say immediately, “This is what I see, is that what you mean?” This kind of creativity is also useful for collaborating with other architects, because it teaches to read drawings quickly to draw conclusions from them. What will you change in your design process based on what you’ve learned? Nina: I used to limit my design to the domains of form and function, and I had difficulty making decisions based on variations that I made in these two aspects. Now I know that when I have many form studies, I can look at them from the perspective of materials or construc-

The five generic elements in the design process


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tion. It’s especially useful to draw perspectives – both interior and exterior – early on in the design process, instead of starting to make renders when the design is finished. Mitchel: The course made me realize that I’m very concept-oriented, and that presentation and drawings are my weak point. Part of improving that will be to think of details and construction much earlier in the design process.

se I used to think that design was completely subjective. I think it would be helpful if teachers could discuss the design process itself with the students. If students are taught the framework, they could talk with the teachers at the same level, and ask the right questions.

Thomas: My designs usually came from an urban social concept, and then other concepts would flow into the design – routing, materials, climate. But now I will try to keep the awareness of the five domains at every stage of design.

Thomas: Teachers should be more structured in their teaching. They should also focus on the strong points of the design instead of the points that are lacking, because that is how a student becomes more enthusiastic about their work. Furthermore, they should also encourage students to be more reflective by asking them to make more variants. There also has to be less focus on only one concept – design should also be about feeling.

Mieke: During the course I understood where the problems occurred in my design process: I couldn’t make decisions because I didn’t know

Mieke: My teachers never noticed that I had trouble making decisions, because I kept on producing a lot. My last comments for the In-

what to base them on. So I’ll concentrate on finding a guiding theme or quality in the design task.

terior studio were that I kept on searching, and they always had the feeling I was in control; but I wasn’t. Good solutions felt intuitive and insecure. I think part of the problem is the distance between teacher and student, and the limited time for tutoring. If the students were taught the framework earlier in their studies, they could take the most from their tutoring by steering the conversation with their tutor. Also, the teachers could give more confirma-

What suggestions would you give to TU Delft’s teachers of the bachelor studios? Nina: Most teachers already have a six-week course similar to this one, but they just have to realize that it’s the students’ first project. Sometimes teachers talk to students as if they

“it would be helpful if teachers could discuss the design process itself with the students. If students are taught the framework, they could talk with the teachers at the same level, and ask the right questions.” already had many years’ experience in design. They have to realize that every step is new, and that they need to explain again, and again, and again, not becoming impatient if the student doesn’t understand. Sometimes students didn’t know how to draw the corner of a stair, for example. After all, there are no courses that teach you to draw the corner of a stair. Also, teachers sometimes rush through your design, pointing out what is good and what isn’t, but they have to explain why something isn’t good, why it doesn’t fit with the overall concept. Mitchel: In my bachelor, no one told me about the framework. The teachers said something about materials, structure, also the concept, but they didn’t link these aspects. When I read Elise’s article, it was a huge eye-opener becau-

tion. Saying that something was done well doesn’t make a student lazy, especially not architecture students. If anything, it gives you confidence and enthusiasm to work more on it. But it also doesn’t mean to not be critical; otherwise, like me, you keep going in all directions.//

BK bubbel Gerben Hofmeijer

Als student architectuur leer je gebouwen bekijken, een gefundeerde mening over het bekekene vormen om het vervolgens op te hemelen of compleet onderuit te schoppen. Als student architectuur voel je je daartoe genoodzaakt, want dat is wat je sinds dag één hebt gezien tijdens je studie. Maar de faculteit Bouwkunde waar wij studeren is niets meer dan een paradijswereld in een pantserglazen bubbel waarin Winy Maas en Francine Houben goden zijn en Watkin de bijbel heeft geschreven. Een wereld waarin duurzaamheid een moderne mythe is. Een wereld waar economie als onderdeel van de maatschappij angstvallig wordt geweerd. Want concreet heb je als je afgestudeerd bent geen enkel besef van de echte wereld. Dus afgestudeerde medestudenten die blijven zeuren over het gebrek aan banen als architect kunnen we eigenlijk niets kwalijk nemen. Want er is ze geleerd dat je met een ontwerp zonder inhoud ver kunt komen. De bedoeling is immers dat je mooie renders inpakt in verhaspelde termen die niemand begrijpen wil. De eerste keer dat men met een portfolio van 4 a3’tjes (landscape) de glazen bol en de hoede van het Delfts zwaar geschut verlaat en de smog doordrenkte lucht van de echte wereld inademt zal dus wel als een schok ervaren kunnen worden. Wij mogen op de TU graag denken dat we als toekomstig ingenieur of architect meer voorstellen dan iemand van het HBO, de academie. Maar werkgevers denken daar anders over. Zij nemen vaak liever iemand aan met echte kennis van zaken dan een bewierookte honours student die met een hand boven het hoofd de studie cum laude door is geloosd. Geef ze eens ongelijk. En op dit vlak lopen we dus iets mis. Toepasbare kennis verhult zich namelijk niet in boeken, maar wordt langzaam en omslachtig bijeengeschraapt in de praktijk. Daarom zou het voor iedereen wel eens waardevol kunnen zijn de ‘BK bubbel’ te verlaten en alvast een voorproefje te nemen van de echte wereld. Verlagen we ons met een stage tot HBO niveau, zoals ORAS zich onlangs afvroeg? Ik denk het niet, we verleggen onze grenzen, gaan zelf op zoek naar kennis en delen zo zelf onze studententijd op een efficiënte manier in. Best of both worlds. Dit alles om jezelf met een zelfverzekerde houding als waardevolle moderne architect in een verzadigde markt te kunnen positioneren.//

>>Image source: Elise van Dooren et al. “Making explicit in design education: generic elements in the design process” (2013)

s t y l o s // e d u c a t i o n // g e n e r a l



without architecture Marthe van Gils

VeelVeel studenten beginnen de studie Bouwkunde met de gedachte later architect te worden. Tijdens en na de studie doen zich keuzes voor die uiteindelijk tot een andere bestemming kunnen leiden. Architect of niet, de opleiding verreikt voor het leven. Aldus deze kunstenaar en fotograaf. Het gaat niet om de eindbestemming, maar om de reis er naar toe. Toch voelt het soms alsof je tijdens de studie Bouwkunde maar een doel voor ogen hebt; klaargestoomd worden om architect te zijn. Hoewel slechts een deel dat daadwerkelijk zal waarmaken, worden we allemaal door onze studie gevormd. De ontwikkelde vaardigheden en inzichten blijven je

kwam een moment van realisatie. Hij zag zichzelf beter worden als kunstenaar. Naast deze realisatie was het studeren van architectuur inhoudelijk ook ontzettend nuttig. Zijn werk is op een bepaalde manier architectonisch. In die zin dat het speelt met schaal en door de manier waarop hij omgaat met de relatie en ervaring van bezoeker, ruimte en object.

“Tijdens de studie bouwkunde realiseerde hij dat het tegenovergestelde waar was...” de rest van je leven bij en zullen een nieuwe blik op de wereld geven. Ook wanneer dat uiteindelijk in een andere baan resulteert. De mogelijke wegen naar het uiteindelijke beroep architect zijn tegenwoordig beperkt. Bekende voorbeelden van Mies van der Rohe en Le Corbusier zijn gedateerd. Zij begonnen ooit als vakman en zijn uiteindelijk lerende wijs architect geworden. Hedendaagse voorbeelden bestaan er niet in Nederland. Dat komt door de strenge eisen die er gesteld worden aan de titel van een architect. Vanaf 2015 zal ook de tweejarige beroepservaringsperiode een vereiste zijn.

Maar ook in de manier waarop hij de ruimte mee ontwerpt en onderdeel maakt van zijn expositie. Architectuur wordt onderdeel van de kunst, zoals bijvoorbeeld bij the Animal Show in het Lever House. Een gebouw waarin de successen van Le Corbusier en de modernistische beweging worden getoond. Met dit gebouw in gedachte creëert hij een expositie waarop deze successen het beste uitkomen. Het vertegenwoordigen van de modernisti-

Er zijn inspirerende toonbeelden van hoe de toekomst zich na de studie bouwkunde kan ontwikkelen. Mensen die groot worden in het vak. Of die een ander talent ontdekken. Zo heeft de zanger Seal bijvoorbeeld architectuur gestudeerd. En de oprichter van Pinterest, een social netwerk site in de vorm van een prikbord, ook. Maar wat met name interessant is; hoe kunnen de architectonische inzichten, bijgebracht tijdens de studie, gebruikt worden in een ander beroep? De New Yorkse kunstenaar Tom Sachs is opgeleid aan de Architectural Association in Londen, waarna hij besloot verder te gaan als beeldend kunstenaar. Aan het begin van zijn opleiding had hij niet het vertrouwen in zichzelf een kunstenaar te kunnen zijn, maar gedurende het studeren realiseerde hij dat het tegenovergestelde waar was. Tijdens al die uren gedreven werken in de maquettehal


uitgebreid over uit. Ruimte voor eigen interpretatie is belangrijk in zijn werk. Een andere, creatieve ex-architectuurstudent komt van dichter bij huis. De Nederlandse architectuur fotograaf Bas Princen. Zijn verbintenis met fotografie vormde zich na zijn studie aan het Berlage Instituut in Rotterdam en zijn opleiding komt nog iedere dag van pas. Hij vindt het fijn om zijn foto’s abstract te houden, zoals maquettes en concepten ook abstract zijn. Mede door zijn achtergrond in architectuur heeft hij een eigen interpretatie ontwikkelt over wat fotograferen inhoud. Hij ziet de manier waarop hij een foto maakt niet als iets vastleggen, maar als iets nieuws creëren. Hij gebruikt de camera als een voorwerp om ruimten of plekken mee te laten ontstaan. Het zijn daarom meestal architecten die de referenties naar architectonische ideeën of concepten in zijn werk begrijpen. Deze extra dimensie wordt door mensen die deze voorkennis missen soms niet begrepen of niet gezien. Zijn academische achtergrond in de architectuur maakt daarnaast dat hij niet alleen wordt beïnvloed door de architectonische discussie die gaande is, hij is er in opgeleid. Door deze tweede laag toe te voegen aan zijn werk kan dit als kunst en als onderdeel van architectonische discussie worden opgevat. Zijn fotografie heeft een belangrijke rol gespeeld in het communiceren van complexe concepten, waaronder megasteden zoals Istanbul en Cairo. Er kan nu met zekerheid gezegd worden dat een studie gaat om de reis en niet om de eindbestemming. De ontwikkelingen en architectonische inzichten kunnen zich op verschillende manieren tot uiting gaan brengen.//

sche beweging wisselt hij af met menselijke iconen, vertegenwoordigd door dieren. Met als resultaat een grote Hello Kitty in de binnentuin van het Lever House. De keuze voor de iconen zoals Hello Kitty maakte hij, omdat ze zo aanvaard zijn. Verweven in ons dagelijks leven. Sachs heeft een helder beeld van waar de objecten voor staan, maar laat zich er niet

s t y l o s // e d u c a t i o n // g e n e r a l

>>Interview Tom Sachs (2008) http://www.wallpaper. com/art/tom-sachs-interview/2372 >>Interview Bas Princen (2010)

Ringroad Houston by Bas Princen, 2005

Grid la Brea and Olympic by Bas Princen, 2005

s t y l o s // e d u c a t i o n // g e n e r a l


learning through images Margot Overvoorde

Our education at the faculty of Architecture comes not only from written knowledge, but also from experience and images. Capturing images and forming opinions about what we see around us can inspire us while making our own design.

Eduardo Souto De Moura’s wall

Every architecture student experiences, to a greater of lesser degree, a change in their way of seeing the surroundings when they start studying. Whether we try to verify what we were taught in class, or we’re looking for a solution to a design problem, or we recognize something we’ve read about, the buildings, streets, cities and landscapes around us seem different. While we used to notice only the highlights like monuments, eye-catching modern buildings or beautiful landscapes, now we notice everything around it and immedia-

of creating this database by looking around us, visiting projects, and attending lectures.

tely form an opinion.

vacation or on an excursion and then categorise them by date and place they have been to. I know a landscape architect who organises his pictures in a different way. He organises them by subject, for example the subjects pavement, street profiles and parks. This way, when he has to design a street profile, he can look in the corresponding folder for inspiration and examples.

Our perception of the built environment becomes a collection of data to use later during the design process. Because designing is not only the making of something totally new, it often references existing examples of particular design elements. If references are an important part of the design process, how are they collected? How do we capture what we see around us? Different designers have developed their own approach.

Mental database

Gerhard Richter’s Atlas

Valerio Olgiati’s The Images of Architects

The first and easiest, maybe even unconscious way of collecting this data is by looking around us. Seeing the things that we like, or don’t like and remember them to use later or definitively avoid in the design. In the bachelor program of Architecture we’re taught to look around and save the things that we see, not only to use the elements later, but also to know what sort of projects are made by which architect or architecture firm. We need to build a mental database of projects and architects. Our first lecture of the minor Landscape Architecture, for example, began by showing images of projects, asking students to identify where they were and who had designed them. Some were very well known, other gardens, parks or landscapes were only recognized by students with a landscape architecture background. They had collected some projects in their mental database. Based on this introduction, our teachers emphasized the importance


Pictures The second way to collect images is by taking pictures, you don’t only need a mental database, but you can also use your camera to collect the images and store them on your computer later. This way it is easier to find things back, especially when you organise it right. Most people take pictures of projects only on

Valerio Olgiati, on the other hand, prefers not to organize his images. His website,, shows a single image. Clicking on it will take you to the next. You cannot go back. Each time you enter the website, the image order is different. It is Olgiati’s private collection of photos, edited regularly, and shows the images that inspire his designs. He also made Extending his approach to images, by not only using his own pictures, but also collecting existing pictures of other people, Olgiati asked 44 architects to send him ten images. “Important images that show the basis of their work. Images that are in their head when they think. Images that show the origin of their architecture.” These were assembled and published this year in the book The Images of Architects. The artist Gerhard Richter has been collecting images from newspaper cuttings, sketches and pictures since the mid-1960s. He has assembled all these images together on white sheets of paper and made it into an atlas. The authors of the book Floating Images, documenting the work of Euardo Souto de Mou-

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ra They wanted to make a book about him, but not a monograph. “In a television interview with Eduardo Souto De Moura, a diverse group of images could be seen in the background on his office wall: a combination of drawings of recent projects and pictures from newspapers and photos.” These images inspired them to make a wall atlas of these pictures. The book starts with “We begin with a contradiction; we write words in a book that should contain only images.”.

Books The third way of collecting images is consulting collections that have been assembled by publishers and other architects. These are images other people made and published so others can look and learn from them. Architecture education exists mostly of designing and learning from books. In our first history class in the bachelor program, we’re introduced to The Big Blue Book: Watkin. It is a book filled with pictures of all sorts of projects, organized by date and accompanied by a text that indicates the project name, building type, place, architect, and the year it was built. It is a book of images and data and, for many of us, the starting point for building our mental database. These three ways of collecting images and learning from them shows us that images are very important in the education of architecture students. We are extremely visually focused, the education in architecture teaches us to be like that. Perhaps a testament to the importance to images in architecture is the comment we often hear when an architecture student pick up a book: “Are there any pictures? ‘Else I don’t like reading it!”.//

>> >> >> Book The Images of Architects Valerio Olgiati >> Book Floating Images Eduardo Souto De Moura’s Wall Atlas


Anne Holtrop Antje Adriaens

For the educational issue Pantheon// talks to practising architect and teacher Anne Holtrop. At the Sandberg we discuss the program he directs, architecture education in general, his work as an architect and the relation between them. Although it is almost evening, most students just start dripping in now. Tomorrow they have their midterm review, tonight their is a lecture by two guests that will not only lecture, but spend the entire day with them. As the Sandberg is open 24/7 they still have the night. What originally is a big space has been divided into smaller spaces by self-created felt walls. Students are attaching their work onto it as preparation for tomorrows review.

working on these simultaniously I can work on the broadness of the field of architecture way quicker. How does your studio run? How do you get commissions while working like this? I believe you can make your own position. You can sit and wait until someone comes for you and gives you an assignment. In this relation my collaboration with Krijn de Koning has

“I learned that I also could just make things, without people asking for it.� This is what is characteristic of the Rietveld and the Sandberg, self-organizing students that work in their own way and rhythm. In this environment architect Anne Holtrop is course director of Immediate Spaces, a renewed masters in interior architecture (but also in everything else). How did you end up here, as a course director and teacher while being a practising architect? Right after my own graduation I started tutoring graduates at the TU Delft. I have always taught at architecture schools, but never at an art academy. Two years ago Jan Konings founded a new interior architecture program at the KABK, whereby I assisted him. After that Jurgen Bey, director of the Sandberg

profile name// Anne Holtrop education// HTS Academie van Bouwkunst profession// architect at studio Anne Holtrop course director and tutor at Immediate Spaces, Sandberg Institute

Institute, approached me to redirect the interior program here. He needed a new course director and gave me carte blanche. A unique opportunity, so here I am. I noticed that for me teaching at an art academy fits the way I work better than for example tutoring at the university of technology. So what is this way of doing that is characteristic in your own practice? My work is very focused on material. I wonder, what does the material want to be? Or it could be something I find which I try to bring towards architecture. The outcome of my work is not only a building per se, but a model could also be an outcome, or a temporary space. By

been very important for me. While working for him I learned that I could also just make things, without people asking for it. That was essential for initial making. Consequently on the basis of what you have made, given it has a certain quality, you are asked for the same kind of ,things. In this way you can make your own position, decide what you want your work to be about. This is very different from working within a studio, where the studio directs what you make. I rather work on my own, I want to be able to decide what I make myself. This determines my commissioners, they are attracted by my way of working. Ofcourse you never know which came first, the work or the commission. The Museum Fort Vechten was a competition, so a question. My design again was a proposal, but came from something I had been working on already, which made me capable of designing this specific building. So it could be that ideas or concepts that did not pass through in one project, can be applicable in another context? Yes, it could be, and there is always an overlap. I make models, temporary spaces and buildings, but all of them can be used in another context or scale as well. How does your way of working translate into the master program? At some schools, there is a set question for every project. Posing a question implies an

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“I see the model as an object on its own. As an architect I make models, temporary spaces and objects. I consider the work itself as a model aswell. So in the case of Museum Fort Vechten, the shape is casted entirely on site out of concrete. It is seperate from reality in a way. The monolithic whole is like a model, so it can still mean something else. In this way the design is open to multiple interpretations,� Above: model for Museum Fort Vechten. Below: construction site Museum Fort Vechten september 2013. Credits: studio Anne Holtrop


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answer. I do not design for a problem or a need, like homes for the elderly. I like the relevance of the work coming from the personal fascination and intuition. This is what I also ask of the students.

sharing it with the world. I believe students could use more of this calmness, being okay with not knowing where they are going. But the sharing and everything, that is actually also okay, that is just the way it is now.

“Nowadays students want to achieve results so quickly. Always questioning what their actions will bring them, before they start making.’’

I decided to decrease the tutoring to once a month, in order for the students to get lost before finding what they want to do. This is also how my own studio functions. Personally, I do not like an office. As soon as something starts to look like an office I get annoyed. In my studio, people collaborating with me are also flowing in and out. Sometimes they are there everyday, sometimes I do not see them for two weeks. For me this is very comfortable. Also, we can be casting concrete at one moment, or be at the construction site, or all be behind our computers the next. It is all very flexible.

Do students write their own project or design question? Well, they do, but mostly it is written afterwards. Because often you only understand what you are doing after you have made it. So in that sense Nike is right, ‘just do it’. Afterwards, on the basis of the steps you have taken, you can react to them. On that moment questions are asked like; ‘What is it actually that I am doing?’ ‘Which steps should I take next?’ Right now for example, there is a Japanese student hammering onto asphalt. You could ask why. It is his personal reaction to the proposed guideline, his intuition. On the basis of this first step you can look for the why, and consequently take the next steps. How do students respond to the program you designed for them? Do they need to be a specific type? Firstly the students here are ofcourse selected, they are 10 out of a 100 applicants. But at the Rietveld there is a certain atmosphere. Everything is questioned, opened up and redefined. Therefore it does need to be the right time for the person to be developing in this way. I also notice that the young generation wants everything done very quickly. They are always asking what it will bring them, before they start making. They want to share their work right away on Instagram, and expect a response with the same speed. In my time there was a long period in which your work was not shown to anyone. You could make and redefine before

Can you be inspired by them as well? What is the relation between your own work and that of the students? The students are never really doing what I am doing. For example material wise, I have been working a lot with natural stone lately. It seems like my students stay far away from it, because they do not want to be doing the same. Conceptually, students sometimes do projects that could have been from my own studio, which is quite nice. But that is not neccessarily the point. It is more about a certain attitude of approach that I try to teach, which could result in totally different works. How do you experience being responsible for an entire masters program, are you still tutoring yourself? The previous year, so the first year under my guidance, I only taught short workshops. For next semester I decided to teach an entire studio, so I can be closer to the education itself. As a course director I get a lot of freedom from Jurgen Bey, the director of the Sandberg. There is nothing that the Sandberg tells you to do. Therefore each direction reinvents itself continuously and is in very close contact with its students. Basically I get a bag of money for the year, and I can divide it as I consider valuable. This gives me an immense freedom, but also responsibility. I believe that in this way you create people that are very involved. Last year for example, we had tutoring once a week. In my opinion the students were not swimming enough. So

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about the program The Sandberg Insitute, running the master program related to the Rietveld Academy of Art, has 4 ‘permanent’ masters. Additionaly there are temporary programs, like Vacant NL that ran from 2011 to 2013. The Studio for Immediate Spaces is the renewed Masters for Interior Architecture. Immediate Spaces does not solely work within architecture or with interiors, but uses concepts from these fields as input. The students as well as the tutors come from different disciplines. They can be architects, designers, artists, writers or urbanists, but the common aspect is that they make spaces in some way. For more information on the program, tutors or students check out their website; What is it that you essentially try to achieve by teaching and specifically with this program? I do feel that teaching is a certain way of returning something, as I am getting so much at the moment. But I like this environment very much. I try to explain my students ‘you thought the world was this big, but than you figure it is even bigger.’ You have to want to deal with that. It is so broad or uncertain what your work can be about, but at the same time you are expected to find depth in that. Yes, I think that is it. If you can write that down nicely, we can show my students and they will understand why they are here.//


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DE JUISTE MEDICATIE VOOR s t y l o s / / MET p o w e r KANKER // g e n e r a l KINDEREN

get inspired Laura Linsi Dutch Profiles are short documentaries on Dutch architects, products, fashion and graphic designers. The webpage contains interviews, each of them roughly ten minutes long with both upcoming and already well-known designers. Among them you will find architecture offices like ZUS, SeARCH, and Koen van Velsen, along with inspirational designers like Bart Hess, Claudy Jongstra and Metahaven. It is the place to go whenever you are stuck with your project.

The Writingplace Writingplace is all about writing and architecture. It is a place where architects, students, writers and anyone interested in these subjects can explore the way architecture and literature are connected. Among the collaborators are Jorge Meija Hernandez, a tutor and researcher in Public Building and Klaske Havik, an associate professor of the new chair Methods & Analysis. On the webpage you will find a collection of writings and the mission statement of this exciting platform.

Bianca Diaz Bianca Diaz is a recent graduate of Rhode Island School of Design and a young illustrator from Chicago. Her work is largely inspired by the Mexican neighbourhood called Pilsen where she lives with her family. Her collages, drawings, woodcuts and paintings are a truly great way to see how people from outside the architectural field perceive the built environment and how it affects their everyday life.

Post - - Office Post- -Office is a hybrid entity, as they call themselves, on the North side of Rotterdam. They are five young architects who established an exciting platform for collaborative working, neighbourhood activities and architecture-focused events. Post- -Office is located under an elevated railway track inhabiting the space of a former coffee shop. Their existence is always subject to uncertainties, but for now, they run exciting movie nights, workshops and dinners and rent out tables and workspaces.

de Doelen for 9 euros De Doelen is definitely a reason to hop on the train and take the 12-minute journey to Rotterdam every now and then. Not only because it is the home venue for the Rotterdam Philharmonic Orchestra, one of the best known symphony orchestras in Europe, but also because the tickets to the concerts for all the ranks are only 9 euros for students - reason enough to dress up and treat your senses after a hectic week in the studio.

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agenda Gerben Hofmeijer

Biodesign Until January 5th Het Nieuwe Instituut Rotterdam

Het Nieuwe Instituut presenteert tot en met 5 januari de tentoonstelling Biodesign, over de kruisbestuiving van natuur, wetenschap en creativiteit. Curator William Myers heeft hiervoor tientallen projecten geselecteerd, waarbij levende systemen een integraal onderdeel vormen van het ontwerpproces. Zo worden bomen onderdeel van huizen en bruggen, vormen champignons de basis voor verpakkingsmateriaal en groeien tabaksbladeren uit tot patronen voor tegels.//

Winter bij Van Eesteren // lezing Erik Swierstra December 29th Van Eesterenmuseum Amsterdam

Na de kerstdagen is er op zondag 29 december een gezellige middag met een lezing door Erik Swierstra. Het gaat over de winters vroeger in Amsterdam Nieuw-West.//

Expositie Xaveer // De Geyter Architects Until January 26th CIVA // Brussels

Xaveer De Geyter is een Belgische architect wiens bureau op een vaak onverwachte en onconventionele manier omgaat met de paradoxen en conflicten van het (sub)urbane leven. Ter gelegenheid van het 25-jarig jubileum van zijn bureau is er door het CIVA (Centre International Pour la Ville, L’Architecture et le Paysage) een tentoonstelling georganiseerd waarin De Geyter terugblikt op de afgelopen 25 jaar.//

’Exformation’ // Agnieszka Kurant December 1st - February 23rd Stroom // Den Haag

Stroom Den Haag presenteert de eerste Nederlandse solotentoonstelling van de Poolse kunstenaar Agnieszka Kurant. Kurant presenteert bestaande en nieuwe werken die verbonden zijn door haar fascinatie voor vluchtige of onwaarneembare aspecten van de werkelijkheid, zogenaamde fantomen, ongrijpbare of onzichtbare krachten, de uitwisseling van symbolische waarde en de esthetiek en politiek van het editen.//

Delftse Lente // Lustrumtheater Styloss February 28th - March 1st

delftse lente

Orange hall // Faculty of Architecture // Delft


Een historisch moment! Ter ere van het 24e lustrum van Stylos is er op initiatief van studenten een productie van een groots theaterstuk gaande. Het stuk is speciaal voor Stylos geschreven en gaat over de geschiedenis van Bouwkunde en de (toen nog) Technische Hogeschool Delft. Studenten van toen waren niet tevreden met de manier van onderwijs op hun faculteit, waardoor ze radicale vormen van inspraak eisten. De faculteit moest hiervoor geheel gedemocratiseerd worden, iedereen gelijke stem over het onderwijs! Ook waren studenten van toen niet vies van protesteren en het hoofdgebouw bezetten. Word wakker, kom kijken naar “Delftse Lente”.//

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recommended reading Antje Adriaens

AA Book Projects Review 2013


Spatial Agency

Every year the Architectural Association School of Architecture publishes a book containing the work of its graduating students. This year the book consists of two volumes, Projects and Review. Projects shows student work from all the different departments, ranging from the innovative Emergent Technologies and Design to the more traditional Architecture. In Review the year’s activities are displayed. Next to spotting possible new influential players in the field of architecture, you could take inspiration from this different type of school and the resulting projects.//

This gigantic publication, consisting of 960 pages in 7 volumes, intends to show the process rather than the result of architectural projects. It features more than 130 projects by 46 design teams in order to show not the process behind one building, but the ongoing work that surpasses a single project. By carefully studying these methods and tools, one might gain insight into the reasons for success. But more importantly, the process used by others give a valuable insight into their way of working and learning that could benefit every architect or architectural student. //

Ryan Dillon, Sarah Handelmann (eds.) // AA // 2013 // 32,00 // 496 pages // 2 volumes

DAMDI // 2013 // 170,80 // 960 pages // 7 volumes

With Other Ways of Doing Architecture the editors try to broaden the definition of architecture. They mainly oppose big market-driven projects, and instead propose projects that arise from social needs in the existing context. In this respect they consider architecture not just as the building itself, but as the entire event. The argument is presented in two parts, starting with a theoretical section where the definition, need and relevance for other ways of doing architecture is given. Consequently a section of example projects shows what this other way of doing architecture could lead to. As a part of the theoretical chapters, the editors shortly present their vision on architectural education. Because to allow for new or other ways of doing architecture, also a different type of architectural learning is required. Without having to agree on the suggestion they give of how to practice architecture, Spatial Agency sharpens the discussion, and makes you think about how the process could be different. // Nishat Awan e.a. // Taylor & Francis // 2011 // 32,99 // 224 pages // 667 grams

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drawing schools



Olgiati memory


Methods and Analysis library




research architecture

ways of doing mental database