@la-di-da

What brought the two of you together?

“I completed an internship at Onix Architects, which is located in Groningen. Coincidentally, Diederik also studied there. By chance, we lived pretty close to one another. Even though we were neighbors at the time, we hardly ever spoke to one another.

Later on, we both pursued our master’s in Delft and eventually crossed paths during the ‘Hout’ elective. It was Diederik’s first architecture-related subject in his studies. We collaborated on the course. Ironically I must admit that I recall being rather frustrated with him as he seemed somewhat inexperienced.”

“I pursued my master’s degree in Geography and Planning in Groningen. At that time, the bachelormaster educational system, which is now quite common, had only recently been implemented. It allowed students to seamlessly transition from most bachelor’s degree to a master’s degree. In my case, the university advised me to take some additional courses in the 6th semester. That was the only mandatory preparation for the Master programme.”

While the both of you finished your master’s in Delft, you are involved at the ‘Koninklijke Academie van Beeldende Kunsten (KABK)’. How would you say the program differs from the experience of your own studies?

“At the academy, it’s all very small-scale, intimate, loose and free. The bachelor is called ‘Interior Architecture and Furniture Design’, however I don’t think the word adequately describes what the program is about. A significant amount of time is devoted to hands-on work in the workshop. This emphasis on practical training makes these students very technically skilled designers when they graduate. Personally, I believe there is merit in placing a greater emphasis on teaching about working with raw materials more, as this will become ever so more important.”

“I would agree that these skills are already quite pertinent now. We are witnessing a sort of transition where traditional materials like steel, concrete, and brick continue to be used widely. At the same time, we see an emergence of the bio-based industry where new materials are really starting to take off. So it is of even greater value to understand how your materials are sourced and fabricated.”

How did La-Di-Da come about?

“After graduation, we did our first project together in our spare time besides working our regular jobs ”

“This was right after the crisis in 2008. It was difficult to get a job as not much was being built. Consequently, I took on a full-time position at a biennale in Belgium and Laura was offered a job at the KABK. At that time, we as La-Di-Da actually got an award. It was at that moment that we started to devote more time to it.”

“It was and is still quite a meandering journey. We don’t consider ourselves a full-time practice, as we temporarily belay at times when it doesn’t bring us joy or satisfaction. We view La-Di-Da more as an outlet for expressing our individual interests and passions. Diederik enjoys imparting his expertise in timer construction and exploring concepts of modularity, while my interests lie with reuse and ceramics.”

“I guess you could say we are driven by the things we like. As these things go back and forth while designing.”

Are there more domains where these particular interests find expression?

“Usually, we try to explore how our research aligns with with our practice. For example, there is this project involving the restoration of historic, dilapidated farms and the addition of a new residence alongside. This is where my PhD research on farm reconstruction comes into play, so to speak. In a sense, that research and design work act as alternating and successive chapters, complementing one another.

I think it’s odd that we’re all so focused on tal and high-rise buildings and that the ‘non-urban context’ often receives less attention. So I mostly try to seek everything apart from urban projects.

I think it’s odd that there is such a strong focus on tall and high-rise buildings, while the “non-urban context” tends to receive less attention. When I began my thesis on farmstead architecture a few years ago, some wondered whether that could be classified as architecture. However, the significance of these topics has become ever so increasingly evident. For a long time, there has been a prevailing “we don’t want to deal with it” attitude as they’re dismissed as ugly and not worthy of architectural attention. Yet they are an integral part of our landscape.”

“That is precisely what makes the challenge of working with these farms so intriguing. Although we label these farms as monumental, the reality is that these buildings deteriorate rapidly if left untouched. Addressing the issue is not simply a matter of adding a glass Wconservatory extension to the building as you see so often. Instead, we need to find ways to genuinely preserve their heritage and plan for their future use. This may lay just as well outside the scope of agriculture. It might entail exploring new products or materials like timber or hempcrete. In that case it is essential to seek an architectural expression that goes beyond mere pragmatism.”

Apart from its role as your creative outlet, how would you characterize La-Di-Da as an architectural practice?

“When we were awarded the Abe Bonnema Prize, many pieces of the puzzle fell into place for us. We are faced with significant challenges, like affordable housing. Additionally the COVID pandemic has shed a light on the downsides of our preoccupation with cities. It has become more obvious that cramming people and buildings into limited space has negative effects beyond only the physical constraints. We as a practice aren’t the problem solvers for these grand challenges as a whole. Our strategy is based on doing research and focusing on the scale of one house at a time.”

“This is also partially due to the way our practice is modelled. Given the associated costs, it is often challenging to hire a large architectural firm to design a single home. However, due to the compact size of our studio we are able to maintain a more measured approach. Our direct involvement in every step of the process enables us to create buildings that can be more cut to fit and cost-efficient.”

“In addition to that, the idea is also that it must be repeatable. Ultimately, you would want everyone to be able to assemble their own home out of blocks or modules.”

“We actually use such blocks ourselves. (wooden suitcase filled with wood and 3D printed modules appears)

They resemble standardised dimensions, to optimise the efficient utilisation of wooden elements for construction. So this idea of cut to fit, is more oriented towards achieving efficient repetition. That allows us to keep costs low.”

So-called ‘Eco-Brutalism’ seems to be another recurring topic. How would you describe it yourself?

“Well that has taken on a life of its own. The concept of brutalism generally revolves around exposed concrete. Comparably, we expose ecological materials instead. We sometimes use the term “Eco-Brutalism” in a lighthearted and humorous manner. However, a while ago, we were featured in an article by De Volkskrant, where they coined the word in the title, along with featuring other architects in the article who were probably unfamiliar with it. Nonetheless, the term is ever so relevant to what we do, as it signifies a departure from the taboo of concealing raw materials and instead embracing their natural aesthetic, rather than painting rooms into white boxes.”

Wouldn’t you say it has by now become a defining characteristic of your design style?

“Ironically, I wouldn’t exactly label it as our intentional sort of style, as it’s not necessarily a deliberate aesthetic choice. We are not specifically fixated on using multiplex or OSB. In fact, OGB is more efficient than both. In a way, it’s simply the satisfaction we derive from the fact that it makes sense from both a sustainable as well as a budgetary point of view. If our primary focus were on minimising building costs, we might opt for different materials. Our main consideration is the use of bio-based materials.”

“We actually took the students of the KABK to visit limestone- and sand mines. These were pretty gruesome. Although it’s important to feel that sense of responsibility, as whiny as that may sound. However, the same principle applies to the woodworking factory, where they also use polyurethane (PUR). So, it’s not as if everything is inherently sacred. The crucial aspect is to maintain a critical mindset and be discerning in your choices.”

“Last but not least, I think learning plays a critical role in both our research and the end result of our projects. As we design, we also view the process as a means to conduct research and educate others and ourselves. The design itself is not the sole objective; rather, it serves as a medium for generating new insights and perceptions. In this way, researching and peaking our interests are integral components of our work, alongside the physical design outcomes. ”//

Great thanks to both Laura and Diederik for their time and their story. To see more of their work, visit https://www.la-di-da.nl/