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thomas henry architecture / editorial / graphic design

portfolio II / 2007 - 2016


thomas henry architecture / editing / graphic design portfolio II / 2007 - 2016 e: info.thomashenry@gmail.com t: +31 (0)649792686 w: www.thomashenry.nl


about me 2 works 6

Curriculum Vitae

Arts school Karel de Grote Antwerp Cuypers & Q architects

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Academy for Music, Word and Dance

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Venice Biennale of Architecture 2014: Hatching

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Iglesia de las Chumberas

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Three villas, Lijiang, China

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Exploring facadism

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El diseĂąo de una bodega

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Brainport pavilion

texts 38 40 & more 44

Cuypers & Q architects

Menis Architects

Menis Architects

Menis Architects

graduation project

masterproject M2

masterproject M1

Architecture and association mastercourse

Modernism and meaning seminar

Five images various

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Curriculum Vitae “with a background in architecture, research, editing and graphic design, my main personalia interest lies within the sociocultural context. byThomas having Jan a proactive Henry attitude, rather than full name just reactive, it is here where the potential lies to create relevant spatial designs 27-01-1989 datebeing of birth that to the contribute to the design and Oostburg, Netherlands placeinvolve of birthand connect people. it is my aspiration sustainability cultural significance. nationality of projects with such a social andDutch Torenallee 50-34, 5617BD, Eindhoven, the Netherlands address next to architecture, over the years i have developed a strong passion for other creative +31 (0)649792686 telephone disciplines like graphic design, editing and photography. provoked by possibilities and info@thomashenry.nl e-mail fed by passion i thrive on finding solutions for any given design challenge.” website www.thomashenry.nl nl.linkedin.com/pub/thomas-henry/82/643/a87/ linked-in education personalia 2011 - 2013 full name 2012 - 2013 date of birth place of birth 2011 - 2012 nationality 2007 - 2011 address telephone 2001 - 2007 e-mail website experience linked-in 2013 education 2015 - ... 2012 -- 2013 2011 2013 2012 - 2013 2011 - 2012 2009 2007 -- 2012 2011 2001 - 2007 thomas henry

Eindhoven University of Technology, MSc, Architecture, Building and Planning (specialization: architecture) Thomas Jan Henry Research traineeship, municipality of Querétaro, ‘Secretaría de Desarrollo Urbano y 27-01-1989 Obras Públicas, Dirección de Monumentos y Sitios’, Santiago de Querétaro, Mexico Oostburg, the Netherlands Universitat Politècnica de València, exchange semester (architecture) Dutch Eindhoven University of Technology, BSc, Architecture, Urbanism & Building van Breestraat 14/5, 2018 Antwerp, Belgium Sciences +31 (0)649792686 Zwin College Oostburg, pre-university education info.thomashenry@gmail.com www.thomashenry.nl nl.linkedin.com/pub/thomas-henry/82/643/a87/ Editor of ‘Built Environment’. Yearbook 2012/2013 published by Eindhoven University of Technology and nai010 publishers, Rotterdam. Collecting, translating and editing of multiple articles. Berchem Academy of Fine Arts, Antwerp, Graphic Design Research trainee at theofmunicipality Querétaro, ‘Secretaría de Desarrollo Urbano Eindhoven University Technology,of MSc, Architecture, Building and Planning y(specialization: Obras Públicas, Dirección de Monumentos y Sitios’. Researching the Outstanding architecture) Universal Value (OUV)municipality of the Worldof Heritage city ‘Secretaría of Querétaro, together Research traineeship, Querétaro, de Mexico, Desarrollo Urbano y with and analyzing the factors affecting the property. Obrasidentifying Públicas, Dirección de Monumentos y Sitios’, Santiago de Querétaro, Mexico Universitat Politècnica de València, exchange semester (architecture) Editor of CHEPOS magazine. Architectural magazine published about four times a Eindhoven University of Technology, BSc, Architecture, Urbanism & Building year by CHEOPS, study association of Architecture, Building and Planning. Writing Sciences and multiple articles; doing interviews Zwinediting CollegeofOostburg, pre-university education and putting texts in layout. 2


experience 2015 - 2016

Architect at Cuypers & Q architects. Architectural design office settled in Antwerp, Belgium. www.cuypers-q.be

2015 - ...

Freelance graphic designer.

2014

Architect at Menis Architects. Architectural design office settled in Tenerife, Spain. Working as part of the design team with renowned architect Fernando Menis on various internationally orientated works and competitions. www.menis.es

2013

Editor of ‘Built Environment’. Yearbook 2012/2013 published by Eindhoven University of Technology and nai010 publishers, Rotterdam. Collecting, translating and editing of multiple articles.

2012 - 2013

Research trainee at the municipality of Querétaro, Mexico, ‘Secretaría de Desarrollo Urbano y Obras Públicas, Dirección de Monumentos y Sitios’. Researching the Outstanding Universal Value (OUV) of the World Heritage city of Querétaro, Mexico, together with identifying and analyzing the factors affecting the property.

2009 - 2012

Editor of CHEPOS magazine. Architectural magazine published about four times a year by CHEOPS, study association of Architecture, Building and Planning. Writing and editing of multiple articles, doing interviews and designing layouts.

2007 - 2010

Graphic designer for CHEOPS, study association of Architecture, Building and Planning. Designing and printing of graphic material like posters, flyers and logos.

publications/exhibitions 06/2014 - 11/2014

10/2013

08/2013 08/2013 01/2012 10/2011 2010

Venice Biennale of Architecture 2014, ‘Fundamentals’, curated by Rem Koolhaas. Entry for the Moroccan pavilion with the theme ‘Fundamental(ism)s’: ‘Hatching, the origination of a city’, by Menis Architects. http://menis.es/venice-biennal-2014/ Article on the theme of facadism ‘Facadisme als strategie voor erfgoedbehoud’. Published by Platform VOER, an online platform that presents views in the field of heritage management in an urban context. www.platformvoer.nl/facadisme-als-strategie-voor-erfgoedbehoud/ Research project ‘Facadism as an approach to redevelopment and conservation of World Heritage’. Published by the Eindhoven University of Technology. Research project ‘The authenticity and integrity of the Historic Monuments Zone of Querétaro’. Published by the Eindhoven University of Technology. Exhibition ‘El diseño de una bodega’, Universitat Politècnica de València. Exhibition ‘Brainport pavilion’, Dutch Design Week, City Hall Eindhoven. Wout van Bommel, ‘Het Tilburg e.o. van architect Jos Donders, toen (1898-1940) en nu’. Published by Stichting tot Behoud van Tilburgs Cultuurgoed, Tilburg.

skills language software extra

Dutch (native), English (fluent), Spanish (fluent), German (practiced) Adobe Photoshop/Illustrator/InDesign, AutoCAD, SketchUp, Microsoft Office model making, graphic design, editing (writing texts, designing layouts and books for publication), curating (exhibitions), sketching

personal info interests hobbies about me

architecture, graphic design, photography, writing, travelling, sports soccer, music Creative person seeking valuable career experience. Full of ideas, drawing inspiration from different fields. Engaged in architecture and design. A good writer, skilled at research. Thriving on solving problems. A good communicator, both written and verbal, and able to work both in a team and individually. Adept at multi-tasking during deadline pressure while staying organized. Able to reflect, eager to learn. 3

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Arts school Karel de Grote Antwerp Cuypers & Q architects

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Academy for Music, Word and Dance

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Venice Biennale of Architecture 2014: Hatching

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Iglesia de las Chumberas

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Three villas, Lijiang, China

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Exploring facadism

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El diseĂąo de una bodega

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Brainport pavilion

Cuypers & Q architects

Menis Architects

Menis Architects

Menis Architects

graduation project

masterproject M2

masterproject M1

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Cuypers & Q architects 03/2016 open call, entry for the transformation and extension of the new arts campus of the ‘Karel de Grote Hogeschool’ Antwerp, Belgium Arts school Karel de Grote link: http://www.cuypers-q.be/project_details.php?project_id=192

Arts school Karel de Grote entry of cuypers & Q architects for the competition for the transformation and extension of the new arts campus of the Karel de Grote Hogeschool in Antwerp. the new arts campus should provide space for 600 students and staff for three academic masters courses in visual arts (graphic design, jewelry design and autonomous arts) and a professional bachelor education in photography. an open character with an abundance of light in all the working spaces are key to the design. as part of the design team my main responsability was in drawing all floor plans (-1 up to +5), visualizing the interventions graphically (extractions and additions) and assisting in creating final images for presentation.

all images are made by me exception: top image p. 6 figures: 1. ground floor plan with overlay of extractions and additions addition extraction

activities: - assisting in the design process - drawing all floor plans - visualisations (mainly Photoshop)

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project: - location: Antwerp, Belgium - education, office, cultural - competition entry - ca. 10.000m2

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“extracting and adding elements to obtain large and open (work)spaces.�

figures: 1. detailed plan -1: cafeteria and staff lounge 2. detailed plan 0: entrance, exhibition space, main corridor, multimedia library, landscape office, aula classroom and inner garden 3. detailed plan +2: open plan with different creative workspaces

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Cuypers & Q architects 06/2016 open call, winning entry for the rehabilitation and expansion of the Academy for Music, Word and Dance Heist-op-den-Berg, Belgium Academy for Music, Word and Dance link: http://www.cuypers-q.be/project_details.php?project_id=216

Academy for Music, Word and Dance, Heist-op-den-Berg the design proposal of cuypers & Q for the rehabilitation and expansion of the academy for music, word and dance was chosen as winning entry. the brief consisted of a large expansion in program on a challenging site with height differences and strict outlines. the new academy will provide new classrooms and exhibition spaces for students and teachers in jazz, spoken word, dance, visual arts and many more. as part of the design team my main task was to analyze, organize and design the program in such a way all specific requirements (height, m2, acoustics, etc.) were met and to assist in creating convincing visuals to clarify the design. activities: - assisting in the design process - 3D sections (Sketchup) - visualisations (mainly Photoshop)

all images are made by me exception: top image p. 10 figures: 1. section through auditorium half underground 2. section through ground floor level 3. overview of new ensemble

project: - location: Heist-op-den-Berg, Belgium - education, office, cultural - winning competition entry - ca. 3.600m2 1.

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walk- and bikeroute kiss & ride bicycle storage entrance

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Menis Architects 06/2014 entry for the Moroccan pavilion at the Venice Biennale of Architecture 2014, Fundamentals, curated by Rem Koolhaas, Venice, Italy Fundamental(ism)s: Hatching, the origination of a city link # 1: http://menis.es/hatching-venice-biennale/ link # 2: http://www.gooood.hk/hatching-menis-arquitectos.htm link # 3 (video): http://www.youtube.com/watch?v=hdoNLEm8M8Y

Venice Biennale of Architecture: Hatching Hatching, the origination of a city is a theoretical project executed by Menis Architects for the Moroccan pavilion at the Venice Biennale of Architecture 2014, Fundamentals, curated by Rem Koolhaas. the theme for the Moroccan pavilion, entitled Fundamental(ism)s, is based upon Morocco’s role as an urban and architectural laboratory in the twentieth century. being part of a small design team we realized the project in Italy, by making a large sculptural model and supporting images, as well as editing an explanatory video and setting up the exhibition in the pavilion.

activities: - conceptual design - making experimental models as well as the final model (1x1x1m) - creating supporting images - setting up the exhibition in Venice

thomas henry

project: - location: Western Sahara, Morocco - research & theory - conceptual design - exhibition at the Venice Biennale

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all images are made by me figures: 1. installation of Hatching at the Venice Biennale of Architecture 2014 (Arsenale)


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“a liveable habitat in the desert using and empowering the forces of nature.�

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figures: 1. northern winds eroding the structure 2. natural ventilation and protection from the sun 3. extracting humidity from the clouds and interior freshness 4. a habitable environment


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Menis Architects 2014 - ... reintegration and completion of the church in las Chumberas La Laguna, Tenerife, Spain Holy Redeemer Church link: http://menis.es/holy-redeemer-church/

Iglesia de las Chumberas the church is one of Menis Architect’s most emblematic works. construction started in 2007, but due to financial causes the church was not finished completely. picking up the project, the challenge was in adjusting and redrawing the original design costeffectively, communicating with client and contractor, to come to technical, architectural and economical solutions. the fundamental idea of the project is to design a visual reference within the urban landscape. large independent rocks (big concrete volumes), characterize the whole project. the spaces between these rocks turn into “patios� with natural light and ventilation.1 activities: - adjusting and redrawing the original design cost-effectively - communication with contractor - produce drawings for execution

thomas henry

project: - location: La Laguna, Spain - religious - under construction - ca. 1.000m2

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all images are made by me exception: top photo p. 16 notes: 1. http://menis.es/holy-redeemer-church/


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Menis Architects 10/2014 proposal for three private villas; water villa, hill villa and tree villa Lijiang, China Three villas, Lijiang, China link: http://menis.es/three-villas/

Three villas, Lijiang, China in the design process for three private villas in the town of Lijiang, China, three distinct concepts were developed. the water villa as a private home, the hill villa as a private club and the tree villa as a guest house. the private home, the club and the guest house all gained a luxurious atmosphere with three distinctive characters. the project was published and presented by two books; the black book conveying the atmosphere of the entire project from concept development to interior - and product design, and the white book, containing the project explanation and all technical drawings and details. as part of the design team I mostly worked on the water villa and was in charge of editing the two books for publication and presentation. activities: - concept development - producing technical drawings - atmospheric plans and sections - visualisations (mainly Photoshop) - editing books for presentation

thomas henry

project: - location: Lijiang, China - residential, private - site: ca. 4.400m2 - villas: ca. 2.000m2

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all images are made by me exception: masterplan p. 20 and technical drawing tree villa p. 23 figures: p. 21. water villa p. 22. hill villa p. 23. tree villa


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+6,785

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TU/e: graduation project 08/2013 studio: ‘cultural heritage and sustainability: world heritage cities as case study’ facadism as an approach to redevelopment and conservation of world heritage link #1: http://thomashenry.nl/texts_project_QU.html link #2: http://thomashenry.nl/texts_project_FA.html

Exploring facadism it seems a common reality: most often we are only able to perceive a building by its facade, merely giving us an idea of what lies behind. how do we know the message given by the facade to the street is corresponding with the use of the building and its internal form? this intriguing question leads to the phenomena of ‘facadism’, an approach to urban redevelopment involving the preservation of historic facades while transforming or even demolishing the structure behind. facadism is often described in derogatory terms, but, what role can it play in conserving world heritage? the historic monuments zone of Querétaro is taken as case study within this project. in total, 374 originally residential buildings were documented, mapped and analyzed in terms of their facade attributes, changes in land use, state of conservation and the correlation between these topics. in a following case study, facadism was researched as an approach to redevelopment and conservation of world heritage. activities: - 3-month field work in Querétaro - inventory of changes 1990-2000-2013 - literature study on facadism - writing and publishing essay - editing books for presentation

figures: 1. case study site Querétaro: Progreso #5-13 notes: 1. Richards, J. (1994) Facadism. London: Taylor and Francis.

project: - location: Querétaro, Mexico - research & theory - cultural heritage and sustainability - UNESCO world heritage 1.

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“the approaches to redevelopment involving the preservation of historic facades or the creation of facsimiles in front of new buildings were greeted with controversy and labeled ‘facadism’.” 1 25

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“facadism prevents new architectural styles from evolving and reduces buildings to mere elevations or self parodies.” 2 on an urban scale, facadism seems to provide an adequate solution on the grounds that “it is a valid method of urban conservation which enables the retention of familiar historic streetscapes or formal set pieces of urban design”. 3 streetscapes stay intact, regardless the events behind the concerning facades. this approach however immediately introduces the disregard of the fabric behind historic facades, possibly and even probably containing value as well, for the facade cannot be seen separately from the internal form of the building. on this architectural scale the relation between the historical facade and the internal form, in the case of facadism, seems to present more conflicts. for all scenarios in redeveloping deteriorated built heritage it should be considered thoughtfully how to deal with the attributes conveying value still present in a building, both when intact or in ruins. facadism is an approach to redevelopment in which the historic facade remains but is controversial to the internal form of the building. this approach could be an option in scenarios in which the facade is in such a condition it is worthwhile and feasible preserving and/or restoring for the sake of the integrity and authenticity of the facade, while the structure behind is beyond repair and is up for new development. the updated or newly designed fabric behind the facade then should always consider and respect the historic facade and incorporate the facade in such a way it is given a place within the process of urban change.

notes: 2. Dobby, A. (1978) Conservation and Planning. Cheltenham: Nelson Thornes Ltd. 3. Richards, J. (1994) Facadism. London: Taylor and Francis.

change of façade attributes 1990 - 2013, sector G 1:10000

changed between 1990 - 2000 changed between 2000 - 2013 changed both periods no change catalogued buildings HMZQ sector G surroundings

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changes in originally residential uses 1990 - 2011, sector G 1:10000

changed between 1990 - 2000 changed between 2000 - 2011 changed both periods no change no data catalogued buildings HMZQ sector G surroundings

remaining faรงade

empty plot

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portfolio portfolioIII


masterproject M2 UPV: masterproject M2 02/2012 02/2012‘proyectos II’ at the universitat studio: studio: ‘proyectos II’ at the Polytechnic University of Valencia politècnica de valència el diseño diseño de el de una una bodega bodega link: http://thomashenry.nl/texts_project_BO.html

El diseño de de una unabodega bodega El diseño Spain is the third largest producer of wine in the world, and therefore can be called aa bodega - accessible for visitors - hasalltoover represent the wine it produces. it is wine country. vineyards are toor benot found the country with a concentration here where the architecture shows its face. wine has its associations with culture, of vineyards and wineries in the north of Spain, a wine region called la Rioja, landscape, andare canamong be expressed in wines materiality or use of space. producing cuisine, wines that the best of Spain. a winery in landscape Spain is often architecture has its part, making the vineyards part of the bodega experience. referred to as a bodega, a term also including a wine cellar or warehouse. bodegas are such an theintegral design brief was to design a bodega in the outskirts ofcan Requena, a city part of Spanish culture and cuisine, that they also include just outside of Valencia, famous for its wine production (wine region Utiel-Requena). restaurants, taste & buy areas or even hotel. the client awas fictional, making the freeorfor interpretation. the program consisted bodega - accessible for brief visitors not - has to represent the wine it mainly out of the more closed serving spaces (office, wine production, staff ) and produces. it is here where the architecture shows its face. wine has its associations the public spaces for tastingand andcan buying wine. the focus was on landscape withopen culture, landscape, cuisine, be expressed in materiality or use of architecture, a simple design embedded in the existing landscape the space. landscape architecture has its part, making the vineyards and partbringing of the bodega concept of wine into the architecture. experience. the design brief was to design a bodega in the outskirts of Requena, a city just outside of Valencia, famous for its wine production (wine region Utielproject:the client was fictional, making the brief free for interpretation. the Requena). - location: Requena, Spain focus was on landscape architecture and bringing the concept of wine into the - cultural, public architecture. - landscape architecture - ca. 800m2

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“the concept of wine is brought into the bodega, and into the landscape.�

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hese, hitecture n the pt of wine

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t goal is to e bodega. his way, e bodega. trance on ding. (office, opening e. the mum by nside. ows a me time is

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3. wine storage 4. taste and buy 5. VIP tasting room 6. entrance visitors P1 7. lounge/exposition 8. cafeteria 9. terrace 10. private 11. staff room 4. 12.

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3. storage room 11. staff room 12. office 13. fermentation 14. cased goods 15. bottling area 16. grape entrance

5. figures: 1. barrica space / taste and buy area impression 2. roof impression 3. plan +1, p = 3500

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section bb

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south-west view

4. plan 0, p = 0 5. plan -1, p = -2800 6. section bb 2.

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7. south-west view

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TU/e: masterproject M1 06/2011 studio: ‘brainport pavilion: an icon for the brainport region’ brainport pavilion: frayed link: http://thomashenry.nl/texts_project_BR.html

Brainport pavilion the design brief of this project was to develop a pavilion, to develop a proposal for a mobile, easy to place and quick to build platform, which can serve as a pavilion, stage or exposition space for the many (cultural) events which are organised both within and outside of Brabant. an icon for Brainport. the appreciation of a pavilion is not only determined by the quality of the pavilion, but especially by the location of the pavilion in an urban area or landscape. Brainport requires a mobile icon to reach out to the world, like the density of a city spreading out its borders: people need to get to know Brainport. key words in this branding process are adaptability, flexibility and accessibility.

project: - location: mobile - cultural, public - branding - ca. 100m2

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“the appreciation “the of a appreciation pavilion is not of a pavilion is not only determined by the quality only determined of bythe thepavilion, quality of but by the especially pavilion, but the location especially byof the the pavilion in location of the an urban area or pavilion in an urban landscape” . area or landscape.” 33 19

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1. ground floor plan: open from all sides 2. roof plan 3. section 4. view 1 5. view 2

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xts 38

Architecture and association

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Modernism and meaning

mastercourse

seminar

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the essay focuses on the redevelopment of buildings that in time have created memories. with the help from the thoughts of grand architecture critics John Ruskin and Stewart Brand the essay explores paths in the following matter: how does redeveloping a place relate to association?

mastercourse 05/2012 course: ‘philosophy in architecture’ how does redeveloping a place relate to association?

Architecture is regarded with serious thought since it is all around us and plays a major role in our daily lives, all throughout history. It is the scenery of our lives and thus of our memories. It are these memories that link with age, as it is that we build for the ages, not for the present. “[…] when we build, let us think that we build for ever. Let it not be for present delight, nor for present use alone; let it be such work as our descendants will thank us for, and let us think, as we lay stone on stone, that a time is to come when those stones will be held sacred because our hands have touched them, and that men will say as they look upon the labour and wrought substance of them, “See! This our fathers did for us.” For, indeed, the greatest glory of a building is not in its stones, nor in its gold. Its glory is in its Age […].” 1

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From Ruskin’s thought comes a certain appreciation for the history of a building. This has to do with a way of respect, honor and - more personal - memories. Ruskin goes on about this sentiment of age, where a certain beauty can be found. Going back to the alley, the cracks in the wall tell me the building has endured at least several decades in - highly probable - changing conditions. Would I have known this if the wall was restored? Ruskin expresses this by the term ‘picturesque’ and this can be interpreted as the beauty he finds in buildings, coming from its decay and thus, age. To strengthen his thought; he thereby thinks “a building cannot be considered as in its prime until four or five centuries have passed over it” 2, leaving its marks and scars. This is true, as far as the age of a building gives the building its picturesque characteristics, that Ruskin so worships. But it are also these characteristics that make you associate with history and make you realize the building is already there for a long time, almost enforcing you to respect it. We are talking about architectural components like broken lines, strong oppositions of light and shadow due to irregularities on the surface, or highly contrasted color; all worn down in time. These are basic architectural elements we still see nowadays.

notes: 1. Ruskin, J. (1849) The Seven Lamps of Architecture; The Lamp of Memory, p. 171. New York: John Wiley. 2. Ruskin, J. (1849) The Seven Lamps of Architecture;

Making a jump in time, a lot has happened in between Ruskin – who lived in the 19th century - and the present, on the sly mentioning the industrial revolution which led to a modernist movement in the early 20th century, where Ruskin’s influence could be found in e.g. William Morris and his Arts and Crafts movement, highly inspired by Ruskin. Still, old and worn down buildings are all around us and how to deal with these buildings has become a current topic these days. Since the building industry grew enormously, space is getting scarcer and we had to start thinking what to do with this situation, if it was not already too late. The idea of preservation in the extreme way Ruskin saw it, could never cope with the developments in building happening in the 20th century. Cities grew faster than ever making their buildings bigger with the help of new technical possibilities. When we look at recent developments in the architectural scene, it seems we are getting overflowed with hypermodern design, which started about 15 or 20 years ago. Flashing websites or pictures and renders in fancy magazines have to convince us we should realize such a design while these only seem to exist for themselves, regardless of their context. This so called Iconic Architecture – or Magazine Architecture – is the urge to create an icon by being the biggest, most striking or most renewable. Iconic Architecture asks for criticism. What are the values? Criteria? Their purpose mainly (if not, only) is to get people to associate the applied iconic features with their brand, or to reflect their product onto their building; it is all about branding. This is a totally different kind of association in architecture, led by the financial market. These buildings are not designed and built for the ages, and therefore left to their fate as the lifespan of the building will exceed that one of the companies. You can say that only bureaucracies have a chance in succeeding settling in an iconic building, as they are not allowed to fail and their function remains. Thank God the economic crisis came. It put a certain halt to Iconic Architecture, making architects realize what actually was going on. Yes, in prosperous times it is easy to get carried away and in cases like that you soon lose track of the true values you at first stood for. Well, it left us with an enormous amount of empty office buildings, now even increasing in number as a logical result of the very same crisis. Seems already enough for me to state a new challenge for all architects these days; to rediscover the values hidden in the existing stock, hereby toning down some architects, trying to get them a bit more modest. Not to say there is no place for architectural design, but architecture has got to find its place again in this new task consisting of smaller adjustments, still having a big influence on our daily environments. We will have to talk again about basic elements like heights and masses, sustainability and attitude.

The Lamp of Memory, p. 178. New York: John Wiley. 3. full essay via www.thomashenry.nl/texts_project_PH.html

So here we are at the theme of redevelopment. It is here where there is much to win, as well as for sustainability as for architecture itself. (...) 3 39 25

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this text is an exploration into the book Pioneers of Modern Design, written by art historian Nikolaus Pevsner. what is modern architecture, or modernism? What did it mean when a particular project appeared in so many books, and - maybe more important - what did it represent?

seminar 04/2012 seminar: ‘modernism and meaning’ nikolaus pevsner and his pioneers of modern design

“how can a form that is not more than a scheme, with a physical reality out of concrete, steel and glass, appeal to imagination? how does the abstract vocabulary of modern architecture appeal to imagination? such questions may become elaborated with the help of another one: how is a particular example of modern architecture photographed and documented, in a particular book, in order to represent meaning, on behalf of what particular observation / argument that the author of the book works out in the text?” 1 the seminar compared a selection of well-known examples that return in many books that all are in some way related to modern architecture in the 20th century. in total, twelve books were read and analyzed. one of them is Pioneers of Modern Design, written by art historian Nikolaus Pevsner. the treated examples in this book are analyzed for their purpose in Pioneers. Pevsner’s writing and way of argumentation are taken into consideration, expressed in the explanations on argument and meaning. meaning being what the example represents for Pevsner, argument being the way he tries to prove this. together they construct Pevsner’s ideas about his pioneers and the Modern Movement.

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Born in Leipzig in 1902, Pevsner’s view of history was grounded in his education amongst German art historians. While writing his dissertation Pevsner embraced the idea of the zeitgeist or ‘spirit of the age,’ and the related assumption that national characteristics inevitably are reflected in its art, or that it is here where “national qualities are represented at their best.” 2 In 1925 he made two life-changing visits: to the exhibition of Decorative Arts in Paris, where he was deeply moved by Le Corbusier’s Pavillon de L’Esprit Nouveau, and to Dessau, to witness the groundbreaking ceremony for the new Bauhaus building, designed by the architect whose work most clearly influenced Pevsner’s vision of the Modern Movement, Walter Gropius. In 1928 Pevsner secured an academic post at Göttingen University, where he was granted funding to travel and study art and design in England, laying the foundations for the writing of Pioneers.3

figures: 1. Gropius: Model factory, Werkbund Exhibition, Cologne, 1914, North Side. 2. Cover first edition under the title Pioneers of the Modern Movement; From William Morris to Walter Gropius (1936). notes: 1. Bosman, J. (2012) seminar description 2. Pevsner, N. (1960) Pioneers of Modern Design. London: Penguin Books. 3. http://en.wikipedia.org/wiki/Nikolaus_Pevsner (accessed 03-04-2012) 4. Sunwoo, I. (2010) Whose Design? MoMA and Pevsner’s Pioneers. Getty Research Journal, No. 2, p. 69-82. 5. full text via www.thomashenry.nl/texts_project_SE.html

In Pioneers of the Modern Movement; from William Morris to Walter Gropius, published in 1936 by Faber and Faber in London, Pevsner wrote on the origins of modern architecture and design. However, what is noticeable, is that for the second edition published in 1949 by the Museum of Modern Art in New York (MoMA), the title of the book was changed to Pioneers of Modern Design. Where Pevsner reflects on the past years for the 1949 edition of Pioneers, Pevsner’s later revisions to his text during the 1960s are of an entirely different nature. The change of title in 1949 - from Pioneers of the Modern Movement (1936) to Pioneers of Modern Design (1949) - marked its deployment towards MoMA. Apparently, as the new title suggests, the term ‘design’ took over the notion of a modern movement. This reveals the sensitivity for change in meaning of the term ‘design’ at this historical time.4 While the book has sustained decades of criticism, when it was first released in 1936, Pioneers offered a striking interpretation of the development of the movement towards modern architecture and design. The edition analyzed for this seminar about modernism and meaning is the third edition from 1960, including the forewords of the first and second edition. In these, Pevsner states his gratitude, but more interesting is the the foreword of this revised 1960 edition of Pioneers, where Pevsner took the opportunity to say that he felt himself to be “surrounded by fantasts and freaks”, and further on, to mention “the craving of architects for individual expression, the craving of the public for the surprising and fantastic.” 2 An item still actual these days. These quotes reflect Pevner’s somewhat hostile expressions to ‘that other tradition’, the so-called ‘organic’ Modernism, exemplified by the work of Scharoun, Aalto, Utzon and in a slightly different way by the ‘late’ Le Corbusier. The book definitely shows Pevsner’s strive in his search towards the sources of a new ‘universally recognized style’. Like Sigfried Giedion in Space, Time and Architecture (1941), published five years later, Pevsner did not aim to just find the lineage of the Modern Movement, but to demonstrate that its characteristics as its clean lines, forms and new sense of space - were the basis for this universally recognized style. Therefore he believed it was the natural expression of the age of science, industry and the machine. Pevner’s aim in writing the book was “to prove that the new style, the genuine and legitimate style of our century, was achieved by 1914.” 2 This partly gives away the structure of the book, where Pevsner uses his arthistorical background to work towards his hero Gropius, who firstly achieved to perfectly master the new style which Pevsner so many times talks about. Pevsner states there are three sources of the present style, being William Morris and the Arts and Crafts, Art Nouveau and engineering architecture. The chapters in the book are dedicated to these sources of the Modern Movement, with the first chapter being an introduction to share the theories of art from all main characters in Pevsner’s movement and the chapter on eighteen-ninety in painting an attempt to clarify the upcoming abstractness in painting, and therefore, design. The three main sources Pevsner found each got their own chapter, explaining their origins and treating the most important examples representing the most important events in the development towards 1914. (...) 5 41 27

portfolio portfolioIII


&m thomas henry

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Five images various

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interior design & redevelopment. this image captures two favorite fields of mine within the architecture scene; interior design & redevelopment. this redevelopment project shows great interior design with a sophisticated rough edge.

FIVE IMAGES fascinations, inspirations and imaginations. interior design & redevelopment, graphic design & editing, Venice biennale of architecture, travelling, photography

during my creative studies and career i became passionate about certain themes. in the end, i have selected five images of these themes that express my fascinations, inspirations and imaginations. my aspiration is to be actively involved in these five themes.

Venice biennale of architecture. working months on this project in both Spain and Italy has been the greatest experience so far in my architectural career. enjoyed it fully from the first brainstorm session until the opening of the exposition in Venice.

photography. since a few years i started to have a stronger interest for photography - shooting the right image at the right time. this image is one of my favorites, taken in Mexico. thomas henry

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travelling. seeing and experiencing different places and cultures gives me the drive and inspiration to see things objectively and relatively, to enjoy life at fullest.

graphic design & editing. next to architecture i have always had an interest in graphics. graphic design, writing texts and editing layouts are other passions of mine.

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thomas henry architecture / editing / graphic design portfolio II / 2007 - 2016 e: info.thomashenry@gmail.com t: +31 (0)649792686 w: www.thomashenry.nl


Portfolio II thomas henry