Amsterdam Academy of Architecture GRADUATION ARCHITECTURE PROJECTS URBANISM LANDSCAPE ARCHITECTURE 2018—19

URBANISM 213 ARCHITECTURE

Alexander Beeloo Dutch Light — Dutch Landscape 13 Marilu de Bies Children of the City 20 Midas van Boekel Semantics of the Rural Social Life 26 Rogier van den Brink Workshop in the City 32 Olga Chulkova V959 Cultural Centre for Community Arts 38 Haidar Al-Dayri The Tide 44 Sergio Dias Traces 50 Ramses van der Dussen Taking a Step Back 56 Lynn Ewalts LAB Rembrandtplein 62 Marco Gijsen Re:Connect 68 Juliette Gilson The Charged Void 74 Nyasha Harper-Michon #archtivism 80 Onno Kamer Stopover 86 Paulina Kapczynska Grodzka Contemporary 92 Laurence de Kort The Breeding Tower 98 Paul Kuipers Het Achterhuis 104 Alvaro Laanen Baca Between City and Front Door 110 Hoeshmand Mahmoed The Saloon of Hafez 116 David Meijer The House of the Millennial 122 Dirk Overduin Vivir Juntos 128 Richard Proudley An (Extra)Ordinary Row of Houses 134 Patrick Roegiers A Sense of Home 140 Bram Ruarus The Sixth Ring 146 Job van der Sande Krasnapolsky 152 Tristen Vreugdenhil Life in the Yard 160

URBANISM

Andreas Mulder The Battle of Amsterdam 169 Ania Sosin Vavaland 175

LANDSCAPE ARCHITECTURE

Francesco Carrasso Beasts’ City 186 Jean-François Gauthier Trees First 192 Simon Verbeeck Metropolitan Drinking Water Park 198 Charlotte van der Woude Nature is Under Your Feet 204 GRADUATION PROJECTS 2018—19

ARCHITECTURE URBANISM LANDSCAPE ARCHITECTURE

Amsterdam Academy of Architecture GRADUATION SHOW

GROUND FLOOR

Why does the Academy of Architecture organise a Graduation Show? Because we are proud; proud of the many talented designers that have successfully completed the meesterproef (master’s test).

Designers who have come to the Waterlooplein numerous times in the past years and spent many evenings in the Hoge Zaal. Listening to and debating with architects, urbanists and landscape architects from the Netherlands and the rest of the world. Seminars and public lectures about professional knowledge and urgent social themes.

Designers who have spent many hours in the classrooms on the first, third and fourth floor, with lecturers and fellow students, discussing, sketching and listening together, presenting to each other and thus learning from each other.

Designers who have stood side by side in the workshop many times, building and experimenting with different materials; and who have also borrowed and read many books from the library; and who have also travelled with each other many times, in the Netherlands and over the borders.

2 INTRODUCTION 3 It may be an almost surreal experience for them results of a sometimes chaotic, but always creative after all that time: to see ‘their’ final projects in process. And what beautiful journeys the designers the spotlight at this Graduation Show. The doors from the generation 2018­­—19 have taken; all of of the Academy of Architecture are open and which can be seen in this Graduation Show, on the anyone can come and take a look! ground floor of the Academy of Architecture.

It is the conclusion of a period in which the Four projects have been selected from this wealth Bachelor’s degree has become a Master’s degree of graduation projects for the Archiprix: an annual following completion of the meesterproef (master’s prize for the best graduation work stemming from test). And that takes time. And time is what the Dutch study programmes in the fields of architecture, Academy seeks to offer; time to discover what kind urbanism and landscape architecture. Each of the of designer lies hidden in a student. The curriculum nine study programmes in the Netherlands may is not the main focus, but the development or submit a number of projects in proportion to the formation of the individual student. During the size of the school, which amounts to four nominations study programme, the following questions are out of a total of 30 submissions in the case of the regularly posed: ‘What kind of designer would you Academy of Architecture. like to become?’, ‘Which position would you like to adopt in the profession or the professional It is a prize that has already existed almost 40 years discourse?’, ‘Which responsibility would you like and can serve as an important step for the nominees, to take as designer?’. It is a form of education that and the winners in particular, at the beginning of can be direct and confrontational, but the sole aim their careers. The list of nominees and prize is to motivate students to adopt a position. winners from the past four decades demonstrates that the Archiprix has been extremely successful at Some students require more time for that than this. Many laureates have made their voices heard others: discovering where you stand is a process of through leaving their mark on the city and the trial and error. Because a designer can be viewed as landscape with their unique designs or through an explorer, who travels around out of curiosity or playing an important role in the debate on who is sent on a journey by means of an assignment, architecture, urbanism and landscape architecture. and learns, researches, poses questions and makes This year once again, it has been a pleasant, but connections; in order to return from the journey also difficult, task for the jury to select four plans with stories, designs and drawings. They are the from the 2018—19 graduates.

4 Madeleine Maaskant INTRODUCTION 5 The jury this year consisted of the heads of All these graduation projects are the endpoint of the Master’s programmes: Jan-Richard Kikkert a period, but at the same time a starting point too. (Architecture), Markus Appenzeller (Urbanism) Wherever future journeys may take these designers, and Hanneke Kijne (Landscape Architecture). we will continue to follow them with interest. This jury was supplemented by Indira van ’t Klooster, director of the Amsterdam Centre for Architecture (ARCAM), and Madeleine Maaskant, Madeleine Maaskant director of the Academy of Architecture and Director Amsterdam Academy of Architecture chair of the jury.

Most of the graduates show a strong belief in making a contribution to a better world with their designs; either with carefully chosen building materials, socially engaged plans to bring people of all kinds together, or by connecting with the existing political, cultural, demographical or urban structures they're designing for.

Many of the plans are multi-layered and very rich. They start from a personal fascination and concern about the society we live in, which is followed by a personal search and in-depth research and a sometimes seemingly never-ending design research: testing in models, many models, reading, pictures, drawings, collages, writings, and others ways to envision what's inside the mind.

6 Madeleine Maaskant INTRODUCTION 7 ARCHITECTURE

8 WE WANT THE WORLD AND One theme stands out above all within the WE WANT IT NOW enormous variety of research directions: living in various forms of collectivity. The design of alternative types of housing for specific target The final year of the Academy of Architecture is groups — for elderly people, young people, entirely dedicated to graduation. Each student may or rather for the most diverse possible group of formulate an assignment him- or herself and choose residents — is used to combat the progressive the appropriate supervision for that. The realisation social disintegration and the ensuing problems, that the student is responsible for the end result such as loneliness and further alienation from him- or herself makes the final year at the Academy society. The conviction of this generation that a supreme effort. It is therefore the ideal opportunity social problems can be mitigated or even solved for showing what someone stands for, as well as by means or architecture could come across as who someone is as a designer and as a person. slightly naive, but it must be fostered. It is precisely because of these design studies and proposals The daily interchange of gaining practical that the old, entrenched patterns are questioned experience during the day in combination with and examined in more detail once again. Moreover, the development of one’s own personality as an important developments are often placed on the architectural designer means that our students agenda with graduation projects. That certainly are uniquely prepared for the professional practice. applies to the larger themes that are not shied While many graduation projects also make an actual away from in these projects: from dealing with link with that practice, the meesterproef (master’s the Dutch slavery heritage, a plea for transparency test) at the Academy of Architecture is also a of our systems and the increasing pressure from representation of what motivates this generation tourism on the city as living environment to the in general. The various graduation projects reflect design of a permanent, and therefore more the impact of the social developments of the past sustainable, location for the Olympic Games. Each years and a clear shift of attention can be detected student examines the assignment based on his or towards the social developments of our times. her own background or experiential world. The In addition, there is an ever-present interest among melting pot of a diverse student population, which the students in the principles of our profession, the Academy has become, is reflected in a positive and the spatial organisation and materialisation of sense in this overview of the graduation projects. a programmatic question in a specific context.

10 Jan-Richard Kikkert ARCHITECTURE 11 Almost 50 years after the publication of ‘The Limits HOLLANDS LICHT: DUTCH LIGHT — to Growth’, the report of the Club of Rome, global DUTCH LANDSCAPE challenges are on the agenda more than ever before. Our students show the urgency of the change of ARTISTS’ COLONY IN THE thinking that is necessary to cope with the problems NIEUWKOOPSE PLASSEN that the world is currently facing. It is up to us, the professional community that anticipates such Alexander Beeloo matters, to illustrate what the opportunities are for giving architectural expression to this. It is the task of the Academy to provide a fertile breeding ground Hollands Licht (Dutch Light — Dutch Landscape) for this and offer sufficient structure, so that is an artists’ colony consisting of four buildings in beautiful and relevant ideas can blossom, which the landscape of the Nieuwkoopse Plassen nature contribute to a better future for everyone. reserve. The architecture frames the landscape, accentuates the qualities of this landscape and steers the gaze of the artist. The architectural space Jan-Richard Kikkert serves as a link between the artist and landscape. Head of Architecture The project is an ode to the Dutch landscape where I grew up. It is inspired by paintings of The Hague School, whose painters explored the nature of the Nieuwkoopse Plassen in an attempt to capture the light in the extraordinarily beautiful landscape.

Hollands Licht is about the experience of the landscape, the characteristic Dutch landscape with the rapidly shifting cloudy skies, the endless horizon in the flat landscape, the abundant water that reflects the light and the moist atmosphere that scatters the light diffusely.

The artists’ colony in the Nieuwkoopse Plassen consists of a landscape ensemble of four buildings

12 Jan-Richard Kikkert 13 where artists can work and reside in total concentration for a season. Here they will share the impressions gained from the landscape via their work with the general public, who will be able to visit the colony at set times.

The buildings merge with the changing landscape as robust volumes. Due to their design, colour and material, the buildings either blend in or contrast with the landscape. Each building has its own programme, form, scale, spatiality and relationship with the landscape. Each intervention in the designs responds to qualities of the specific spots. Carefully designed windows offer a framed view of the landscape from the spaces in the buildings.

The cloudy skies, the light and the alternating seasons continuously change the view of the peat meadow landscape of the Nieuwkoopse Plassen. The four buildings occupy this landscape, always the same and always different.

Graduation date: 2 December 2019 Graduation committee: Machiel Spaan (mentor), Anouk Vogel, Ard de Vries The architecture frames the landscape. The artists work under the influence of the Dutch landscape.

14 Alexander Beeloo ARCHITECTURE 15 The artists work and reside in their studios during their work period. Meeting others is the main focus in the communal building, the Corner.

The artist’s colony consists of four buildings: communal building de Hoek (the Corner) and the three studio buildings: de Lijn (the Line) de Toren (the Tower) and het Vierkant (the Square). They are positioned as a total composition at four specific spots in the landscape.

16 Alexander Beeloo ARCHITECTURE 17 The buildings are anchored in the landscape. De Toren (the Tower) is situated between the trees. De Lijn (the Line) is between two ‘green walls’, the vegetated strips of ground.

De Hoek (the Corner) is in the flat reed landscape. The buildings are anchored in the landscape. Het Vierkant (the Square) is situated by the large open body of water.

18 Alexander Beeloo ARCHITECTURE 19 CHILDREN OF THE CITY space is created at the interface of the residential building and the bustling city centre. A PLACE TO LIVE FOR FAMILIES IN THE TOURISTIC CITY CENTRE OF Comfort and a feeling of space remains an AMSTERDAM important residential aspect for urban families. In addition, they wish to have a residential Marilu de Bies environment where children can play safely and where it’s easy to make contact with neighbours. The city is reduced to a conveniently-arranged In recent years, the city centre of Amsterdam has living environment within the housing block. You been unilaterally aimed at tourists; working and imagine yourself to be in a village as the raised especially living have taken second place. In the residential streets offer large play areas that also meantime, there is a shortage of homes in the city, serve as an entrance to the homes. These open especially for families, which is currently being areas provide the building with light, air and space. solved by creating beautiful and peaceful living The vistas and the horizontal and vertical environments on the outskirts of Amsterdam. The connections ensure a dynamic residential world approach of this plan was that it must be possible where families, but especially children, can play, to provide families, who want to live in the city explore and live at the heart of the city centre. This centre, with a liveable place, as a liveable city allows is the only way that the city centre can become for a balanced mix of living, working and tourism liveable once again and regain its natural balance.

Following the relocation of the University library, this location on the Singel is converted into a Graduation date: 14 June 2019 Graduation committee: Marcel van der Lubbe (mentor), housing block for a hundred families. The building is Jolijn Valk, Marinus Oostenbrink given a natural spot in the city centre by preserving the monumental Stadsmagazyn that extends over the entire plot, and connects the Singel with the Handboogstraat. In this way, the historic Stadsmagazyn will serve as city street and meeting place. As the raised ‘streets’ of the residential building cut through the Stadsmagazyn, a vibrant

20 ARCHITECTURE 21 The city street in the Stadsmagazyn, a place for families to meet each other

Growing up in the housing block: from toddler to teenager; the radius of action of the playing child

22 Marilu de Bies ARCHITECTURE 23 Longitudinal section Stadsmagazyn; longitudinal section living environment

Ground floor. The housing block is nestled between the Singel and the Handboogstraat Facade on the Singel

24 Marilu de Bies ARCHITECTURE 25 SEMANTICS OF THE RURAL SOCIAL LIFE the nuances and the semantics of communal life into the design from within. TYPES OF HOUSING FOR THE RURAL SENIOR CITIZEN It soon became clear that the delicately balanced village life clashed with the monofunctional Midas van Boekel straitjacket of the early post-war residential district. Three interventions in the design proposal change this. They not only lead to more variety in general, As the Dutch population is ageing, a growing share but more specifically to the realisation of different of senior citizens will eventually end up living alone. residential environments. The fact is that the senior The existing housing stock in the Netherlands will citizen actually does not exist. Each of us wants to need to undergo a transformation. Attention is grow old in our own way in our own home, and must often paid to the urban districts, while the more have the freedom to be able to arrange that ourselves. significant housing needs in places without population There will be the home for the loner in the collective, growth or even declining population numbers — the the residential community for the solo bon vivant Dutch countryside — is overlooked. Suitable senior and the hamlet for the sovereign senior citizen. citizens’ accommodation often results in the lifeless typology of the large-scale, barrier-free apartment Senior citizens’ accommodation in Boxmeer thus complexes, where senior citizens are stacked, while becomes more varied. This proposal is a call to being detached from their immediate surroundings. all rural municipalities to revise similar residential districts and the existing typology for senior citizens’ This design-based research offers an alternative accommodation. It is vital to design inspiring and advocates small-scale housing for our senior housing and residential districts for the future citizens at the heart of our and their familiar living of the social life in the countryside. The importance environment. At the same time, the interventions of rural thinking in the urbanising Netherlands should that are made with the proposal serve as the not be underestimated. starting shot for the revitalisation of the early post- war residential districts, which are so typical of many municipalities. The district Bakelgeert-Noord Graduation date: 28 February 2019 Graduation committee: Jeroen Atteveld (mentor), in rural Boxmeer forms the case for this research. Peter Defesche, Elsbeth Ronner As I grew up in this village, I was able to incorporate

26 ARCHITECTURE 27 A row of family homes transformed into a ‘open-plan cathedral’ where a group of senior citizens cohabit around communal activities, firmly anchored in the neighbourhood.

Three locations in the early post-war residential district Bakelgeert-Noord A car park transformed into an implanted courtyard of with characteristic problems and houses with accessory apartments. From non-place potential serve as the starting point to safe residential environment, firmly connected with for the new types of housing. the surrounding family homes.

28 Midas van Boekel ARCHITECTURE 29 Hamlet for the sovereign senior citizen who wants to live with the family of a relative, or may want to join that of another person.

Residential community for the solo bon vivant: collective cohabitation based on communal activities that give meaning to life, not reasoned on the basis of limitations.

Housing for the loner in the collective: the single senior citizen leads a reclusive existence, but contact with the neighbourhood is never far away.

30 Midas van Boekel ARCHITECTURE 31 WORKSHOP IN THE CITY The building of Workshop in the City has been refurbished and modified numerous times through Rogier van den Brink the years. These layers are still more or less visible. I am grafting my addition onto the remains. I am not going back to a specific time, but I am looking for How do you design a building that is based on craft; references from all time layers and translating that a building that provides space for the artisanal into a contemporary interpretation. My interventions production of everyday furniture? A painting by always remain recognisable in that capacity. Through Pieter de Hooch, building a chair, a long series this approach, a multilayeredness arises, in which of studies and a night in a monastery helped me the existing and the new enter into a dialogue with to find an answer to this. The result is an urban each other. workshop in Amsterdam where a group of apprentices live and work internally. It is loosely During a weekend visit to the St. Benedictusberg modelled on the 17th century guild life. The expression monastery in Lemiers close to Vaals, I extensively ‘Craft is continuity’ has an impact on all layers of examined the way in which the monks move through my graduation project: in building on the existing the building and how the architect has used the urban fabric, in the expression of the architecture, daily structure of their rituals as point of departure in the design of the individual rituals of its users for the design of the spaces. In Workshop in the and in dealing with materials. The result is a plea City, all spaces are designed based on the group for craft and re-using. size of the users. The ritual of the daily routine forms the basis hereof. Craft appears to be in contrast to constant innovation, but that is not totally true. Craft has a self-regulating ability and does allow substantial Graduation date: 7 February 2019 Graduation committee: Machiel Spaan (mentor), innovations therein. However, it always builds on Gus Tielens, Floris Cornelisse that which has come before. The craftsman stands, as it were, on the shoulders of his or her predecessor. This implies a bond with previous generations and points to an important function of education in the process of learning to master the craft.

32 ARCHITECTURE 33 The profile of the facade reveals the function: a workshop in the city. Volume studies of the extension.

Model of the layers through time with the most recent extension at the front ends.

The different years of construction projected over each other. Each time says something about the preceding one.

34 Rogier van den Brink ARCHITECTURE 35 Room of an apprentice in the living quarters of the workshop.

View of the old building from the dining hall, perpendicular to this the axis that directly connects the living quarters with the entrance.

The modifications over time. The design is grafted onto the remains of what was. Existing and new enter into a dialogue with each other.

36 Rogier van den Brink ARCHITECTURE 37 V959 CULTURAL CENTRE FOR the 50 years since it was developed. For this reason, COMMUNITY ARTS the viaduct has become an important urban object for the place, yet the area lacks cultural activities, TRANSFORMATION OF THE VIADUCT AND in spite of a highly diverse and fast growing THE ADJOINING AREA BY REUSING THE community, eager to express their creativity. LOCAL URBAN, ARCHITECTURAL AND CULTURAL QUALITIES V959 Cultural Centre for Community Arts is designed to facilitate activities for community arts. The centre Olga Chulkova is constructed from the elements of the existing viaduct at its original site. In this way, the local identity is being rethought, and it stresses the What do we do with the post-war urban and importance of sustainable and circular economy architectural developments? Nowadays, the buildings principles in new developments. Apart from the and urban fabric of the period between the 1960s original supporting structure that is used as a surface and 1980s are approached negatively. We judge for street art, all elements of the viaducts, including the apparent lack of identity and we prefer to beams, stairs, bus stops and street lights, are destroy them and build something new. When we reintegrated into the new design, both inside and do so, we miss the hidden meaning of the objects outside. In this way, a new unexpected architecture in the urban fabric that have been shaping the and landscape is created from the familiar, generic very local identity in these 'generic' neighbourhoods. infrastructural object. Flexibility of spaces and To reinforce the local identity, we should think transformable structures give possibilities for multiple about restructuring these areas by adding new ways of using the building. Outside, public spaces elements to the existing structures. follow the structure of the building and create a continuous cultural landscape. All in all, V959 Cultural My graduation project focuses on creating a new Centre creates a place to stay, to explore, to express, urban and cultural identity in the western part of to surprise and to be surprised. Buikslotermeerplein at the site of the Waddenweg viaduct (recorded as bridge number 959). It is situated just a couple of minutes’ walk from Metro Graduation date: 13 June 2019 Graduation committee: Machiel Spaan (mentor), Station Noord. The viaduct itself has shaped the Judith Korpershoek, Furkan Köse space on the square; it has provided it with rhythm in

38 ARCHITECTURE 39 Collage, illustrating the main idea of the project: South and north facades reveal the load-bearing structure of the transformation of an existing infrastructural object former viaduct, giving the building a solid appearance in contrast into a cultural building for community arts. to the more transparent east and west sides of the building.

V959 functions as one continuous cultural landscape. Tracery facades open up the activities inside towards adjoining public spaces, inviting new visitors.

40 Olga Chulkova ARCHITECTURE 41 The core of the library block has an atrium of double height. The openings in the bookshelves on the library’s galleries allow visual interaction between the spaces.

Urban transformation from infrastructure to active cultural space, using the existing Theatre with a two-side oriented stage. viaduct structure as a basis for both new Transformable seats on one side make multiple buildings and public spaces. forms of use possible: from classic theatre plays to outdoor festivals.

Fragments, showing how elements of the former viaduct are placed in the new building. Structural walls in the interior are used for A double height exhibition space gives plenty of space graphic community arts. for different kinds of exhibitions and events.

42 Olga Chulkova ARCHITECTURE 43 HET GETIJ (THE TIDE) surfaces in the complex serve as natural partition between the public space of the city and the semi- MEETING PLACE FOR THE CITY OF public space of the complex. The accessibility of AMSTERDAM the central square is determined by the water level. During the day, the square is solely intended Haidar Al-Dayri for visitors to the bathhouse; in the evening, the water level drops, whereby a footpath appears and the central square becomes accessible to Amsterdam is growing at a rapid pace. As a result the neighbourhood. Neighbourhood residents can of the arrival of many new residents, contact enter this space and come together on the central between neighbours is no longer a matter of square. In this way, Het Getij is returned to the course. Social and shared amenities are needed neighbourhood after closing time. to connect neighbourhoods and neighbourhood residents with each other again. Graduation date: 10 July 2019 Graduation committee: Saša Ra enovi (mentor), The public bathhouse used to be a meeting place Ira Koers, Pieter Jannink in the city. This function has slowly disappeared from the streetscape. With Het Getij (The Tide), I am bringing the bathhouse back to the city and it serves as a connecting element in the neighbourhood. The name of my design refers to the tide: the periodic changing of the water level, or ebb and flow. This can be recognised in the design. Water is the basic element in my design and has three functions: water as therapy and relaxation, the water square as receptacle for rainwater and cooling for the city, and water as natural partition.

Het Getij consists of five pavilions that are connected with each other through a central square where visitors come together. The various water

44 ARCHITECTURE 45 Section that shows the functioning of water squares and nature roofs.

Section showing that water is the basic element in the design.

46 Haidar Al-Dayri ARCHITECTURE 47 Ground floor First floor

Roof

First floor Roof view

Ground floor

Only visitors can enter the bathhouse during the day; in the evening, the water level drops and the central square becomes accessible to the neighbourhood. Water structure

48 Haidar Al-Dayri ARCHITECTURE 49 TRACES and in this way it plays with the theme visibility and invisibility. It also ties in with the social discussion AN INSTITUTE FOR SLAVERY about the slavery heritage, which is sometimes conducted explicitly and visibly, but which is mostly Sergio Dias somewhat awkward and invisible. The building is therefore almost invisible aboveground, while a world with dramatic contrasts of light and dark, Amsterdam deserves an Institute for Slavery. There high and low is revealed underground. is no place where the rich history of Amsterdam — which cannot be viewed separately from the The programme of the institute is situated around involvement in slavery and the trade in human three closed atria with water that reflects the light beings and colonial goods — is commemorated, and the movements in the building. They anchor the studied, considered and brought to people’s building at the location and lead to a specific attention. The traces of the colonial past are still experience of the place. The atria are visually tangibly present at many places in the city. connected with the ground level above and the water of the Oosterdok. They connect to the two The Institute for Slavery will literally connect the main axes of the building, which transport the slavery heritage with the present and the future by visitors from dark to light, or vice versa. activating the historic Warehouse of the West Indies as entrance of the new building. The institute The Institute for Slavery is a gesture from and for joins under the Prins Hendrikkade and houses the city, it is a platform where the colonial past, permanent and temporary exhibition spaces, an present and future merge together and contribute auditorium, a large archive, a library and a café- to the collective memory of the inhabitants. The restaurant. It is accommodating the organisations traces from the slavery heritage exist in the present that conduct research into, or organise programmes and the future, and this building reveals them. relating to the slavery past. The work of these organisations will be given more exposure and being in the same building has many advantages. Graduation date: 9 May 2019 Graduation committee: Dingeman Deijs (mentor), Vibeke Gieskes, Micha de Haas The building refers to the slavery heritage, to the underground, to forts, bastions and the ship’s holds

50 ARCHITECTURE 51 The building joins under the Prins Hendrikkade and connects the Warehouse of the West Indies, situated at the corner of the Prins Hendrikkade and the Rapenburg, with the water of the Oosterdok.

The projection of the now obstructed slavery monument on Dam Square. The heated social discussion and the lack of understanding between different parties was the motivation The greatest profits from the The institute is a platform for the collective memory. It is also accommodating for the project. triangular trade between Amsterdam, the organisations that conduct research into, or organise programmes relating Africa and South America (the Dutch to the slavery past, such as the National Institute for the Study of Dutch West Indies at that time) resulted Slavery and its Legacy (NiNsee), the Black Archives/NUC, Stichting Stil from the trading of humans and Verleden and Black Heritage Tours. colonial goods.

52 Sergio Dias ARCHITECTURE 53 Longitudinal section. The building consists of a narrative from the past, present and future; an unbroken space that goes from dark to light and vice versa. The programme of the institute is situated around three closed atria with water that reflects the light and the movements in the building. They anchor the building at the location and lead to a specific experience of theplace.

Underground, the visitor is guided through the building by the incidence of natural light.

Floor plans level -2 and -1.

54 Sergio Dias ARCHITECTURE 55 TAKING A STEP BACK The rehabilitation centre provides dancers with a place where injuries may and can be visible and REHABILITATION CENTRE FOR THE open to discussion. Square confined spaces are INJURED DANCER linked by rotations to each other, as a result of which corridor systems are not necessary. Ramses van der Dussen The dynamic building that is hidden in the dune landscape in a respectful manner exudes total The career of a professional dancer is one of ups and tranquillity. The floor, the spatial experience, the downs. From great heights as a solo dancer on the views of the dunes and the fusion of inside and stage of the Dutch National Ballet to considerable outside provides a spectacular nature experience. lows as an injured dancer on the treatment table of The contrasting white in the building reinforces the the sports doctor. The injured dancers will be able colour of the dune landscape, which gives the spot to make use of the new rehabilitation centre that a fresh and pure appearance. In this earthly has been specially designed for this group. building, everything revolves around the notion of recovery, both for the dancer and for the natural The building lies at the edge of the Natura 2000 environment. Sand plays a leading role, as a natural area between the Wethouder van Gelukpark in binding element, herein. the Dutch town of Bloemendaal and the Kraansvlak in the Zuid-Kennemerland National Park. There was a riding school at this spot up until 2014, Graduation date: 6 June 2019 Graduation committee: Bart Bulter (mentor), when a fire destroyed the place. The existing scar Anouk Vogel, Laurens Cobben at this spot in the landscape is removed by the new building and the increase in the layer of shifting sand. Endangered and rare dune plants and flowers grow abundantly on the green roof of the rehabilitation centre. The wind, birds and insects spread the seeds of these plants and flowers throughout the adjoining, still run-down Wethouder van Gelukpark, so that the flora in the park can regenerate and flourish.

56 ARCHITECTURE 57 The rehabilitation centre is largely recessed into the dunes, only the white roof edge protruding above the dune ridge.

Scale model of the spaces with different subsurfaces, dimensions and spatial experiences that provide the dancer with a choice that Plan of the building with interlinked (dance) spaces, which suits his or her state of mind. The interlinked (dance) spaces each are each supported by a core with a specific function. have a core with a specific function.

58 Ramses van der Dussen ARCHITECTURE 59 Dance spaces partially sunken into the dunes provide the dancers with the desired form of privacy. View from the roof terrace over the landscape and towards the low-lying dance spaces.

Large degree of transparency and far sightlines in the space where yoga lessons are given to the dancers. The dune sand Waiting room where the dancer is picked carries through into the interior. Large sliding glass fronts up by his or her personal coach. reinforce the fusion between inside.

60 Ramses van der Dussen ARCHITECTURE 61 LAB REMBRANDTPLEIN this exodus, there needs to be more space for organising initiatives like neighbourhood, sporting A PLACE FOR THE ‘AMSTERDAMMER’ and cultural activities. With the transformation of the Rembrandtplein, the resident of Amsterdam will Lynn Ewalts live in the city centre once again.

At the Rembrandtplein, LAB will come into The new LAB Rembrandtplein offers a platform to existence, an installation where many different the resident of Amsterdam; a place where anything activities can take place throughout the year; is possible and every day can be different. The activities that represent the enormous diversity of Rembrandtplein (Rembrandt Square) is a place for the city. The installation functions as a Swiss army experimentation on an artistic, social and societal knife: a different layout can be made for each level. There is space for giant installations, a activity through movable elements. Wall and floor miniature theatre or a festival, but also a place elements can be raised up and lowered, and where the neighbourhood can spontaneously drink curtains provide a more intimate or a more public coffee together or where you can simply have a setting as the case may be. The installation consists chat. LAB Rembrandtplein will be a place where of a grid structure to which these elements are or original residents of Amsterdam live together with can be attached; it serves as a fly tower. As a result new residents. of this, the Rembrandtplein can look different every day and it will become a place that belongs to the The new Rembrandtplein is needed, because many Amsterdam people once again; a place where they residents from Amsterdam state that the city can meet each other and be together. centre no longer feels like part of their city. In particular, the public nuisance and pollution, the rising rents, and the changing character as a result Graduation date: 27 August 2019 Graduation committee: Rob Hootsmans (mentor), of the many tourists and expats living there, are Jana Crepon, Jarrik Ouburg cited as problems. People from Amsterdam increasingly feel alienated from their city, as a result of which the residents are found less and less in the city centre, or even worse: they leave this urban district. In order to combat this feeling and

62 ARCHITECTURE 63 Isometric drawing of the square in September.

64 Lynn Ewalts ARCHITECTURE 65 Section of the Rembrandtplein in September.

A new activity is constructed on the Rembrandtplein: elements can be easily moved with an overhead bridge crane.

The Rembrandtplein in April: there is a lecture The Rembrandtplein in in the greenery and a theatre performance at September: an exhibition fills In the summer, film evenings can be the centre of the square. the centre of the square. organised on the green mound.

66 Lynn Ewalts ARCHITECTURE 67 RE:CONNECT the building. It is used for playing outside, sharing food and sitting at the fireplace. In order to A REHABILITATION CLINIC FOR facilitate a gradual reintegration into society, some DIGITAL GAMING ADDICTS of the treatment spaces are separated from the main building and are situated in the park, making Marco Gijsen going out in public space a daily routine.

The design of the clinic is an antidote to the digital The rehabilitation clinic I designed for severe world: it seeks to enhance the feeling of being in gaming addicts is conceived as an architectural the physical world. The presence of nature, changing antidote to the digital world and is based on the weather conditions and seasons are important to principles of social reintegration and physical the design and become part of the inhabitant's daily reconnection. routines. By engaging all the senses, the addicts become reconnected with their own body again. The rehabilitation clinic provides a 12-week The usual indoor hallways of clinics are replaced programme for 13-25-year-old gaming addicts, by outdoor walkways around the green courtyard. offering them a treatment and a social reintegration Every space is directed towards different elements trajectory. The building is therefore not organised in the landscape that offer ever-changing views: like a traditional closed-off clinic, but rather works bodies of water, treetops and reeds. The sense of like a campus that is integrated into its surroundings. physical reality is further enhanced by the use of It seeks to find the right balance between a natural materials with rough textures; materials that comforting, safe environment and the necessary show the weathering over time and are built in such confrontation with the fear of going outside that a way that the buildings express how they many have. Existing natural boundaries subtly withstand gravity. separate the grounds of the clinic from public areas. The round space within the building provides a feeling of safety. At the same time, it opens up Graduation date: 30 January 2019 Graduation committee: Jo Barnett (mentor), towards the environment to train and stimulate the Gloria Font, Bart Bulter patients to leave the comfort of their own rooms and the inner space. The routing around the big central garden provides the main social space of

68 ARCHITECTURE 69 The clinic is organised like a campus and integrated within the city park to facilitate social reintegration into society.

Model of the main building that encircles a group of trees.

Floor plan of the main building

70 Marco Gijsen ARCHITECTURE 71 Existing natural boundaries separate the clinic subtly from public space. It balances the need for safety and openness. The ring-shaped main building creates gardens on the site: this is the entrance garden.

The walkway around the courtyard with its rough, natural materials and lowered rain gutter gives a daily dose of natural stimuli.

The central garden is meant for playing outside, building tree huts, meeting friends, sharing food and sitting at the fireplace.

72 Marco Gijsen ARCHITECTURE 73 THE CHARGED VOID Spaarndammerbuurt as a spatial sequence of rooms. The painting of Magritte, In praise of LIVING AND WORKING IN THE dialectics, illustrates the spatial sequence in which SPAARNDAMMERBUURT the distinction between the inside and the outside becomes less explicit. An interesting ambiguity Juliette Gilson subsequently arises.

The desired image is a proud and optimistic building ‘In calling our collected works The Charged Void: that gains richness through the surprising assembly Architecture, we are thinking of architecture’s of its parts. The rigid building block, made of brick, capacity to charge the space around it with an is interrupted by an irrational gesture: an imposing energy which can win up with other energies, square enclosed by solid walls. The new urban interior influence the nature of things that might come... will contribute to the enlivening of the neighbourhood a capacity we can feel and act upon, but cannot and to the collective character of its surroundings. necessarily describe or record.’ Peter Smithson, 1992 Within the boundaries of the architectural volume, the 101 units benefit of a diversity of floor plans The Charged Void zooms in on the formal and difference in size: from 38 2m to 250 m2. Living characteristics of the city, especially the relationship is seen as a conglomeration of social, professional between the built objects and the space between and commercial activities. these objects. Space or void are of equal importance as buildings in terms of form and presence. Graduation date: 12 September 2018 Graduation committee: Jan Peter Wingender (mentor), Located in the heart of the Spaarndammerbuurt in Jarrik Ouburg, Anne Dessing Amsterdam, well-known for its architecture in the style of the Amsterdam School, the project explores the relationship between the individual and the whole, and between private interiors and public open spaces. By adding a new public open space in the neighbourhood and by introducing three new gates, the project encourages the understanding of the

74 ARCHITECTURE 75 The courtyard. The courtyard is considered as an urban interior, an intimate room with strong boundaries that contributes to the collective character of its immediate environment.

The entrance from the garden. The third entrance, in continuation of the existing gate, gives access to the courtyard that provides the key to the organisation of the entire building.

Network of courtyards. By adding a new public space to the neighbourhood and introducing three gates, the project encourages the understanding of the Spaarndammerbuurt as a spatial sequence of rooms.

76 Juliette Gilson ARCHITECTURE 77 In praise of dialectics (1937), Magritte. The painting illustrates the experience of the neighbourhood, where the relationship between interior and exterior becomes controversial. Fragment model. The main gate gives access to the building and welcomes visitors, residents and neighbours. The gallery. The gallery, between the public domain and the private dwellings, is shared by all users, and encourages informal meetings and collective activities.

Situation plan. The project zooms in on the formal characteristics of the city, especially the relationship between the built objects and the space between these objects.

Morphology courtyard. The resulting shape of Process book. The book shows the trust in the design process; the courtyard (down right) is a constellation of rigorously treating everything with attention and dedication in three circles stimulating the spatial sequence. order to cultivate this ongoing process.

78 Juliette Gilson ARCHITECTURE 79 #ARCHTIVISM the globe — in Paris, France; Port of Spain, Trinidad & Tobago; and Washington D.C., U.S.A. — is THINK GLOBAL, ACT LOCAL: elaborated. The private and collective spaces of the INTRODUCING THE PLACE RESPONSIVE co-living complex allow for a business model that DESIGN METHOD FOR RESILIENCE takes the benefits of both the local and the global. Regardless of location, the private spaces all feature Nyasha Harper-Michon the KumbaPod, which regroups all the personal functions needed to live, assuring a consistent user and brand experience. The KumbaPod couples #archtivism is a movement that strives for a world standardised global design with the use of local where the building industry positively impacts our materials through digitalisation, CNC machine laser society, economy and environment. To tackle the main cutting and dry assembly. In contrast, the collective challenges of today's globalisation era, homogeneity programme — the shared kitchens, living rooms and and the climate crisis in particular, #archtivism amenities — is unique to each location, as it is inspired introduces the Place Responsive Design Method, by the buildings’ contexts as analysed and interpreted a universal method for unique resilient designs. using the Place Responsive Design Method. Each of the case studies fosters resilience through its The Place Responsive Design Method, applicable unique and tailored approach to the incorporation to any brief or site worldwide, is based on the pillars of the local economy and materiality, healthy living of place and sustainability: economy, society and and well-being, conservation of environ­mental environment. Each pillar and its subcategories provide assets, and climatic and energy performance. the framework for local research to help determine the building’s positioning, form, materiality, structure In essence, #archtivism addresses the need for a and more, while anchoring it in its context. This simple revolution in the tools and processes of architectural method thus empowers designers to make informed design by connecting practice and research; designer design responses by collecting, interpreting and and place, for a resilient built environment. hierarchising local data, the foundation of the design.

To demonstrate the method’s ability to foster Graduation date: 27 August 2019 Graduation committee: Marta M Roy Torrecilla (mentor), resilience, a case study of a fictitious global co- Chris Noteboom, Jo Barnett living chain, Kumba, opening three locations across

80 ARCHITECTURE 81 Exhibition at the Academy of Architecture expressing the theme of activism and the revolution needed in the tools and processes of architectural design.

The Place Responsive Design Method, applicable to any Regardless of location, the private spaces all feature the KumbaPod brief or site worldwide, is based on the pillars of place and regrouping all the personal functions needed to live, assuring a sustainability: economy, society and environment. consistent user and brand experience.

82 Nyasha Harper-Michon ARCHITECTURE 83 Perspective section of Kumba Port of Spain, Trinidad (yellow), Kumba Paris, France (green), and Kumba Visualisations of the three case studies used to Washington D.C., United States of America, with the demonstrate the Place Responsive Design Method’s local data hierarchisation diagram. ability to foster urban resilience.

84 Nyasha Harper-Michon ARCHITECTURE 85 STOPOVER philosophy and art. The research that is the basis of the design is a reflection of existing theories A TEMPORARY HAVEN FOR about how people live together. The themes of THE WANDERER mobility, dynamics, individuality and spare time play an important role in the project. My research Onno Kamer revealed that amassing capital and property, and the commuting involved in that, numbs humans. We subsequently try to desperately secure and Stopover is a communal residential building for preserve that property. We do this by creating people who temporarily settle in a city. The building forms of enclosure and exclusion, behind which contains various communal spaces each with its we subsequently lock ourselves away voluntarily own character, where the emphasis is on daily and in individuality. As a result of that, we waste encounters and creativity. Facilities and services our spare time in boredom in the car, the bourgeois make the residents’ lifes easier. In order to recharge house or the anonymous flat. and unwind, residents always have their own room that provides the essential housing needs. This research led to the development of a building in which a dynamic and communal life is facilitated. The residents of this building hardly have any People are spurred on to be able roam through possessions, which they are more likely to experience life through stimulating social situations and as a burden. By paying subscription costs, they may creativity. This does not happen automatically: make use of all amenities and services within the an intermediary space is needed for communal life; network. This network is formed by numerous an overlapping space that connects people. Stopover Stopovers spread across the world. The residents makes it possible for residents to roam. Large groups of the building consciously opt for this dynamic of people can comfortably live together in the lifestyle, as a result of which they are literally and building, without having to surrender their privacy figuratively en route and they regularly change their and individuality. place of residence. Stopover is therefore a temporary haven. Graduation date: 10 September 2018 Graduation committee: Laurens Jan ten Kate (mentor), The design of Stopover represents my personal Vibeke Gieskes, Bruno Vermeersch quest within architecture, urbanism, literature,

86 ARCHITECTURE 87 Each resident inhabits one of the hundred private spaces. These spaces are compact and satisfy the need for privacy and comfort.

Each communal space has its own characteristic appearance, as a result of which they are recognisable within the generic building structure.

The Arcades Project of Walter Benjamin focuses on 19th century Paris. Before Haussman introduced a rigid consistency, the city was still a dense labyrinth. At that time, building owners worked together in order to transform streets into passages. That cooperation, the communality and the application of new technologies and materials, The building facilitates an optimistic new type of housing such as glass, steel and gas lighting, made the realisation of in which mutability and freedom are embraced. The spatial passages possible. According to Walter Benjamin, the passage is the design is a representation of the dynamic use. world in miniature. It is a space to wander through. It serves as an intermediary space between separate buildings and streets, where informal encounters can take place.

88 Onno Kamer ARCHITECTURE 89 meter box plant entrance

books

laptop

cd-player + cd’s

sitting area

Based on the analysis of my own home, I concluded that this is chiefly an expensive storage space for unimportant belongings. This served as the motivation to think about a more sustainable manner of cohabitation.

Writing the texts and building scale models were my most important means of research. The continuous act of building and writing led to the ultimate design.

90 Onno Kamer ARCHITECTURE 91 GRODZKA CONTEMPORARY programme in the plinth, as well as a collection of individual gallery rooms on the floors above. CULTURAL BUILDING ON THE GRODZKA Each gallery has its specific characteristics and ISLAND IN SZCZECIN, POLAND expression and opens up towards the city's cultural heritage; physical relics left behind by the countries Paulina Kapczynska that once were in possession of the city of Szczecin.

As part of the concept of individual galleries, two Although Grodzka Island is located in the heart of artists in residency sheds are located within the the city, many citizens of Szczecin have forgotten allotment gardens, allowing the artist's creative this piece of land. The island is surrounded by process to be displayed to public. The sheds are a very strong historical context of the popular located along the modulated and subtle pathway cultural centre and an upcoming new hotspot through the landscape of exciting tiny private in the city: the post-industrial harbour. Today, the garden sheds leading to the main gallery building. city of Szczecin is Polish, but it has had multiple cultural personalities throughout history, such as This project is my personal search for a building Danish, Swedish, Prussian and German. Cultural offering a new kind of democracy within the independence, ownership of culture and active contemporary cultural context in Poland — an island participation therein, as well as buildings especially that is not used, for various historical and political designated for culture, have been neglected issues reasons. The aim is to give people the opportunity for many years. to express themselves publicly or provide alternative views on culture. It is an important issue at this Grodzka Contemporary offers a design strategy for moment, as the world is growing more conservative, the whole island. The main goals were to introduce both culturally and politically. more permanent public access to the island from the popular left bank of the river, to encourage more permanent occupation on the island, as well Graduation date: 3 October 2018 Graduation committee: Jo Barnett (mentor), as to create space for new activities along the main Maurizio Scarciglia, Hiroki Matsuura public path. One of the main design interventions was positioning an art gallery on the south end of the island. The building houses a broad cultural

92 ARCHITECTURE 93 Historical traces. An overlap of the city borders between years 1500-1900. The Odra River and the island as constant elements in city's development.

Axonometric projection of the gallery building. View of the south end of the island.

Nolly map. The scope of the project within the city context. The island as a stepping stone between the cultural city centre and post-industrial harbour.

94 Paulina Kapczynska ARCHITECTURE 95 Public ground floor during workshop activity. The An informal scene at the entrance to the Gallery. Odra river freezes patio as an opportunity for a free gallery display. each year, ice skating is therefore a popular activity. Art meets culture.

The harbour gallery. Horizontal window exposing the harbour landscape, the background for the displayed works of art.

Unique collection of individual gallery rooms, each with its specific characteristics and expression.

96 Paulina Kapczynska ARCHITECTURE 97 THE BREEDING TOWER forms of expression. The small rural centres in the attractive surroundings of the heathland and the FROM MONUMENTAL VACANCY forests formed ideal spots to be able to create in TO CULTURAL HOTSPOT isolation. The artists sought inspiration, among other things, in the unspoilt nature. The heathland area Laurence de Kort around the water tower was one of those areas.

The original community of artists has largely When the demand for clean drinking water arose disappeared. It is now known as a ‘country residence in the early 1930s, water company PWN held a for the Amsterdam elite’. In order to offer a platform competition to design a water tower. This tower had to professional and amateur practitioners of the to be erected at the edge of the heathland in Laren. art, a ‘cultural hotspot’ is an obvious interpretation The condition was that the design had to be in for the water tower and the adjoining buildings. keeping with the landscape and that the tower would The diversity of the programme — an exhibition, serve as a lookout for the public. In 1933, this water studios, meeting places, catering establishments tower and the adjoining buildings were erected, and theatre — demand a multiplicity of spatial based on a design by Wouter Hamdorff, an architect qualities. The new additions fit in with the existing from Laren. qualities in an obvious way.

The A1 motorway now borders the complex. The In this way, the cultural hotspot will be a home for water tower has lost its original function due to the creative and performing artists — professional and development of modern systems and technologies. amateur — and a welcome spot for visitors and The tower is vacant. As it is a nationally listed passers-by. It also forms the stepping stone to the monument, it is important to give the tower and the surrounding heathland area. adjoining buildings a new function. In this way it can reinforce the original public backing once again and preservation will also remain guaranteed in the future. Graduation date: 27 August 2019 Graduation committee: Bart Bulter (mentor), Thomas Dieben, Marieke Timmermans Laren is traditionally an artists’ village where people have come from various angles, deviating from the prevailing artistic norms, to experiment with new

98 ARCHITECTURE 99 Water tower as prominent centrepiece. The water tower is the most important building in the ensemble. Additional programme is connected to this and is oriented towards the tower.

100 Laurence de Kort ARCHITECTURE 101 Existing Extension

Master plan. The water tower provides studio space for the artist in Overview extension, programme, residence; the extension provides studio space for the local amateur artist. orientation and routing. Visitors can come to the exhibition space and the new restaurant.

102 Laurence de Kort ARCHITECTURE 103 HET ACHTERHUIS choice when we think about transparency. Instead, it tries to confuse by introducing a mystery in the A PLACE TO HIDE FOR EDWARD SNOWDEN spatial order. Het Achterhuis is a labyrinthine configuration of spaces. It refers to the strategic Paul Kuipers function of the labyrinth to confuse, as well as to its ability to entertain and reflect.

Het Achterhuis (The Rear Annex) is a spatial Het Achterhuis reinterprets a typical Amsterdam manifesto to address the importance of transparency, typology of the canal house and re-enacts the a fundamental digit in our democratic system. internal gardens of the 17th century canal belt as Het Achterhuis is a place for Edward Snowden a place to hide. The paradox of revealing by hiding who revealed important information about how demands an ambiguous place. It can never be a governments and corporations are monitoring single shelter for the individual, who, in the case the population and stealing their data in order of Snowden, serves a public debate. Het Achterhuis to manipulate it. It forced him to run away and he therefore functions as a server in the community. ended up stateless, requesting and being granted It simultaneously protects the individual and makes asylum outside of his own society. Time and again, connections within the collective. we see that people who fight for openness have to encrypt themselves; running and hiding, or even Het Achterhuis functions as a firewall for Snowden, worse, losing their citizenship. as a server with public programmes and as a gateway for passers-by. That means that the inhabitant Het Achterhuis is a place to hide for Edward Snowden becomes a host for public events in the private in Amsterdam, which is, according to writer Russel realm. At the same time, Het Achterhuis adds a Shorto, one of the most liberal cities in the world. new event to the city: a cryptic pass-through in the This paradoxical theme of revealing by hiding urban fabric. Het Achterhuis hides and reveals at became the foundation for starting a mass versus the same time. void study. It was an architectural tool to research the interrelationship of spaces. Graduation date: 21 February 2019 Graduation committee: Machiel Spaan (mentor), Het Achterhuis aims to attack a legible organisation Marlies Boterman, Ronald Rietveld of spaces, which would have been the most obvious

104 ARCHITECTURE 105 Model. Het Achterhuis is a connecting building between the Herengracht and Keizersgracht. In addition to being a residence for Edward Snowden, it contains a number of collective programmes.

Connection. Het Achterhuis is an elongated Wall of Rooms in the middle of an Amsterdam building block. It is both a building and alleyway, both a wall and park, both a house and city.

Interfaces (Facades). Het Achterhuis cuts through the Voorhuizen front part of the houses and announces itself in a mysterious way on the canal. The public entrance is carefully concealed around the corner on the right-hand side.

106 Paul Kuipers ARCHITECTURE 107 Interface front part of the house. Het Achterhuis cuts through the front part of the houses and announces itself in a mysterious The Leak (Panorama Room). The way on the canal. The facade of Leak is the central space, placed on Het Achterhuis interacts with the the longitudinal axis of the courtyard front part of the house by turning functional elements inside out. Forum, perspective. One of the public garden. It ‘reveals’ the courtyard spaces in the building is The Forum. It is the garden and above all makes an place where the public and main occupant encounter with the residents of the can enter into debate with each other. house possible.

Forum, interface Forum, cross-section

Cast models. The mass-void studies using cast models was chosen as a method to spatially examine the contrasting themes like physical-virtual, private- public, individual-collective.

108 Paul Kuipers ARCHITECTURE 109 BETWEEN CITY AND FRONT DOOR The Collective. 'Collective towers' give access to the street level. That is also where the entrances A LIVING ENVIRONMENT TO COMBAT and various shared spaces are located, including a SOCIAL ISOLATION bicycle storage space, a guest room and a kitchen for the residents. The project consists of eight Alvaro Laanen Baca U-shaped housing blocks, each consisting of eight homes around a shared patio. A multi-level landscape within the complex offers a surprising routing and Like many other cities, Amsterdam has a high each patio has a difference in elevation in order to percentage of lonely residents. As Amsterdam's create a spatial distribution and sense of intimacy. district Osdorp comes top of the list, it was chosen as the location for Between City and Front Door. The Private. Five types of apartments were The atmosphere of the neighbourhood is defined designed, housing a mix of residents. Elements by high-rise buildings and neglected public space. of the homes strengthen the relationship between The newly-added housing block combats this by the home and the neighbourhood. The front entering into relationships with the neighbourhood garden, for example, is a place to sit outside and and creating new conditions for encounters. a bay window on the first floor offers a view of The design consists of two layers that cannot the patio and the neighbours. be considered in isolation from each other: public space on the ground floor and a residential The public, collective and private area were community above that. The design encompassed designed from an urban planning level down to the both layers on the three scale levels: The Public, level of detail, to offer the residents a feeling at The Collective and The Private. home and to offer encounters with the neighbours and local residents. The Public. The inner courtyard, flanked on three sides by the new project, is inviting to the neigh­ bour­hood due to the cycling and walking routes. Graduation date: 9 July 2019 Graduation committee: Jeroen van Mechelen (mentor), This public space gives access to the public functions Uda Visser, Ard Hoksbergen on the ground floor as well as to public ‘towers’ that ensure active (spatial) contact between local residents and inhabitants of the complex.

110 ARCHITECTURE 111 This section shows that public, collective and private spaces are inextricably linked in this plan. Both large and small businesses from the neighbourhood work in the public space on the ground floor. The public programme rises through to the collective part of the residential community on the first floor at specific points. The businesses can make use of the patio there. The homes are situated on the patios. The front gardens provide a natural transition zone between the collective and the public area.

In response to the surrounding high-rise buildings, the project remains compact and low Each housing block consists of a small-scale for the benefit of visual contact and encounters community of eight homes, within which there is a between residents and neighbours. place for encounters in an accessible manner.

112 Alvaro Laanen Baca ARCHITECTURE 113 From the homes, carefully designed elements, such as the farm door or lowered fenestration, provide a strong relationship with the outdoor space, as a result of which it’s possible to make contact with the neighbours more easily.

Via the collective towers, residents come into the intimate and communal patios, each of which is enclosed by eight homes.

On the first floor, the bay window offers a view of the patio, but this also serves as a place of The building opens onto the neighbourhood and via the public towers reflection for the resident. the public space is connected to the residential community above.

114 Alvaro Laanen Baca ARCHITECTURE 115 THE SALOON OF HAFEZ This is the Saloon of Hafez, where the wine of love is poured. A PLACE TO DELVE INTO, ACKNOWLEDGE AND PRACTISE POETRY This is a place for the community of poets, the poet is a visitor there and the visitor a poet. Hoeshmand Mahmoed This is a place to delve into, acknowledge and practise the language of the gods, this is a place for poetry. A place for you and me. Poetry can enrich, connect, delight and abhor at the same time. Low, between the birches, behind the brick walls, a labyrinth can be found with a thousand and one According to the poet Paul Valéry, humanity needs stories. poetry in order to experience its emotions afresh and in a different form. I come closer to the poet here, I become part of a continuous sequence: of a story in a story in a Hafez, the greatest poet and mystic in Persian story. history taught us to experience our emotions, which are filled with love, lots of love, again and again and in a different form each time. Graduation date: 27 August 2019 Graduation committee: Laurens Jan ten Kate (mentor), Milad Pallesh, Abdessamed Azarfane The problem nowadays is that this art form is becoming increasingly lost in society; the appreciation for it seems to be lacking.

The Saloon of Hafez brings the power of poetry closer to the people in Amsterdam.

Like a caravanserai along the Silk Road, dancing with the contours of the park, the Saloon of Hafez greets its reflection in the water.

116 ARCHITECTURE 117 The main recital space, a space in a space, where the visitor and poet come together, where the poet is the main focus and poetry is created. This space can be entered from three sides. As audience you briefly become a poet on the stage, because there is only one option for taking your place as audience.

Between the birches, low behind the brick walls, a labyrinth can be found with a thousand and one stories. I come closer to the poet here.

The workshop space = the round table, the round table = intimacy, intimacy = connection, connection = composing verses, composing verses = poetry, poetry = creating, creating = learning, learning = discovering, discovering = meeting, meeting = sitting round the table.

I become part of a story in a story in a story. This is the Saloon of Hafez for the poets’ community, where the wine of love is poured. Poetry. The poet is a visitor and A courtyard garden that is directly connected with the park forms the the visitor a poet. entrance, the beginning of the story. While I stand face to face with an enfilade of stories, I choose one of the two doors in a brick surface.

118 Hoeshmand Mahmoed ARCHITECTURE 119 The Crown

The Human

The Earth

The Crown — The crown is the spiritual The Saloon of Hafez is a labyrinth. A place to discover, acknowledge layer that is physically inaccessible. This and practise poetry. The encounter is the most important thing. It is is the layer that symbolises the practise a place to come closer to the poet, closer to each other. of poetry. The Human — The Human is a tangible, more natural experience of the building. This layer symbolises the discovery of poetry. Narrow and elongated bricks in combination with wood line the aboveground spaces. These spaces are The building sits like a caravanserai along the connected everywhere to the park and the Silk Road, dancing with the contours of the labyrinth. The prevailing feeling is freedom. park, it greets its reflection in the water. The Earth — The Earth is the most intimate layer of the building. Everything under the ground level falls under this layer. It is made of concrete; entering the earth signifies the transition from brick to concrete. The deeper you enter the earth, the more intimate the spaces. As a result of this, you become increasingly detached The section shows the different layers. from the park. This is the layer that Each layer relates differently to practising symbolises the acknowledgement of and experiencing poetry. poetry. The visitor can see and feel at all times here.

120 Hoeshmand Mahmoed ARCHITECTURE 121 THE HOUSE OF THE MILLENNIAL The location on the Jan Evertsenstraat is situated at the transition between the 19th century city and A PLACE OF ONE’S OWN BETWEEN the 21st century expansions of Nieuw-West. It is an MEETING AND RETREATING urban axis that connects the Dam and the Sloterplas. The positioning of the building and the programme David Meijer in the plinth ensures that the building ties in with the amenities and functions in the neighbourhood. An urban front garden forms the transition to the Millennials. A collective term for anyone born housing from this urban location. An informal route between 1980 and 2000. A generation that is also runs past collective squares in the building that referred to as Generation Y. I also belong to that provides space for relaxation, hobby and meeting. group. It is a group that often still lives together with This route and collective functions are enclosed by house mates, but starts looking for a place of its own the residential clusters that form the transition between the ages of 25–35. The potential for having between the meeting and retreating. a place of one’s own is becoming smaller and smaller. A small studio in an anonymous residential block is These residential clusters consist of ten to sixteen the rule rather than the exception. housing modules. The most intimate rituals take place here, which contribute to the homely atmosphere. The current, available types of housing do not fit The modules are divided into functional, compact the housing needs and the lifestyle of the millennial. spaces. The cluster street houses general amenities Generation Y longs for an urban environment and that are shared with your direct neighbours. The a high level of amenities. A new type of housing design of the housing module provides a new home is needed that forms an extra step in your housing for the millennial with the assortment of collective career, in which everything revolves around and urban spaces. experiencing, interacting, meeting and retreating.

On the basis of everyday rituals, I defined four scales Graduation date: 26 August 2019 Graduation committee: Laurens Jan ten Kate (mentor), for the building: from urban layer to one’s own place. Hans Hammink, Bruno Doedens On the basis of the place in the city, one’s own place in the building and the definition of home, I united the transition between meeting and retreating.

122 ARCHITECTURE 123 Cross section that shows the sequence of scales and routing through the building.

The interior walkway as urban layer that connects functions in the plinth and makes visual connections with the housing in the upper world.

Urban integration with elevation accent. Plan third floor. The urban front garden forms the The collective functions are visible as transition, the collective kitchen the heart of the building double-height large windows in the mass. and this is bordered by the first residential clusters.

124 David Meijer ARCHITECTURE 125 The housing module. The kitchen forms a transition, closed off physically and/or visually, between the cluster and one’s own living space, sleeping area and sanitary facilities.

The double-height cluster street with daylight, meeting space, shared amenities and the connection with the housing module.

The everyday rituals of the millennial per scale level. One’s own place up to and including the urban layer in the building constitute the house of the millennial.

126 David Meijer ARCHITECTURE 127 VIVIR JUNTOS In the coming decades, the population of Europe will rapidly grow older and IRM is expected to keep A PERSPECTIVE ON THE ARCHITECTURE growing. Vivir Juntos aims to fuel the discussion OF INTERNATIONAL RETIREMENT about this phenomenon with new models of MIGRATION coexistence, as a catalyst for the change that is needed. Dirk Overduin The project focusses on Aspe (Alicante), a typical village that is currently the subject of interest to Vivir Juntos (Living Together) reflects on the developers. The historic urban fabric is characterised architecture and urbanism that has come to dominate by a serious number of vacant buildings and empty the coastal areas of Spain in recent decades. The plots. The redevelopment of these plots and purpose-built developments, mainly urban sprawl, buildings is a unique opportunity for migrant retirees accommodate hundreds of thousands of International to live within the local community and develop a Retirement Migrants (IRM) who, seduced by sun, durable social network. At the same time, it has sea and Mediterranean life, have decided to take a positive impact on the (now shared) physical up permanent residence in the region. environment and local economy.

The urban sprawl typology has failed in many areas. This social strategy requires a specific spatial It is characterised by high-energy consumption and approach. There is no ‘one-size-fits-all’ solution. a lack of amenities and public services. It has had Through three case studies, which are an irreparable impact on the land and its ecology. representative of the local conditions, Vivir Juntos The quality of the properties is reported to be poor aims to prove the spatial quality and economic and social integration has been a failure. The viability of this new model of coexistence: absence of a social network gets problematic when living together. a person’s age and (informal) care become crucial to maintaining one’s independence. These problems result in forced relocation or remigration later in Graduation date: 7 July 2019 Graduation committee: Gianni Cito (mentor), life. Social integration and the formation of social Jarrik Ouburg, Marta M Roy Torrecilla networks are crucial, therefore, when it comes to the quality of life in one’s latter years.

128 ARCHITECTURE 129 The existing situation was the starting point of the renovation, working from the potential of the original layout, materials and finishes.

The first case study focuses on two vacant buildings along the Plaza de San Juan. Following a collective housing scheme they are renovated to house four senior couples.

The main intervention at site one is the creation of a central collective court that connects all private and collective spaces, and creates a transition to the public square.

130 Dirk Overduin ARCHITECTURE 131 The second case study focuses on one vacant building and a larger empty plot. Young families and senior couples live together in a multi- generational collective. The third case study focuses on a large empty plot along the busy Calle San Jose. The assisted living apartments together create a central public square.

The collective house combines small private spaces such as a bedroom and a bathroom, with large collective spaces to provide the same programme as a The broad collective gallery functions as an luxurious suburban villa. element of connection between the private At site two, the collective is formed apartment and the public square. Wall by the architectural coherence of the openings have integrated seats. The bakery, café and post-office three buildings that are connected outlining the public square of site through a collective courtyard. three connect the building and its inhabitants to the city.

132 Dirk Overduin ARCHITECTURE 133 AN (EXTRA)ORDINARY ROW OF HOUSES orchard once again; a stone, uniform mass is scattered therein. As soon as you touch the bridge A TRANSLATION OF THE UNCHARTED and cut through the row of poplars, you arrive ROMANCE OF GROWING UP IN A home. In the orchard, collective flower gardens can TERRACED HOUSE be found between the ensembles, where mothers can walk with their son. Richard Stuart Proudley The ensembles are made of stone, the material that defines the public domain. Differences in patterns I grew up in a perfectly normal row of houses in a and small differences in height subtly indicate the perfectly ordinary street. A hidden romance appears borders within these stone rooms. The birch grove to be harboured in my everyday memories of that continues into the ensembles where the roots will house. Nine written memories form the basis of ultimately transform the patterns of stone. From the this plan. The design is moulded from the memories. stone rooms, you enter the wooden hut. A feeling of security is prevalent there. The living rooms form On the banks of the street where I grew up, there the transition zone between the more public and the is a piece of no man’s land filled with forlorn private spaces. From the wooden hut, you always look allotments. Once there was an orchard with poplars, at a pair of large friendly birches. On the ground elms and maple trees where I used to build tree floor, you look past the flaking trunks. Above, you huts. You could only reach the no man's land via the look out over the roof landscape, while the crowns gates and the rear access of the street. The piece of the trees provide shelter. In the wooden hut, the of land is still flanked by remaining poplarsand an floor and the stairs creak, a door flies open out of unbridgeable ditch. Nine ensembles for new row nowhere in the winter. The wooden hut is a room in houses will be divided over the piece of no man’s the attic, the most sheltered spot of the plan. You land. The generation that grew up in this area and sit in the large windows and see the clouds pass by moved away will come back again, just like me. The past the crowns of the birch. memories of what was, translated into what is.

Across the ditch, stone bridges that follow Graduation date: 28 February 2019 Graduation committee: Jo Barnett (mentor), naturally from the gates give access to the forlorn Vibeke Gieskes, Jo van den Berghe, Uri Gilad no man’s land. Grey-white birches make it into an

134 ARCHITECTURE 135 Nine ensembles on the bank of the street.

The stone ensemble of six terraced houses connected to each other.

Nine memories as the basis of this plan, The ensemble of six homes and their connections. from which the design is moulded.

136 Richard Proudley ARCHITECTURE 137 The stone room and the entrance of the home.

The ground floor where the stone room runs into the wooden hut.

One of the distortion models of the terraced house where I grew up in.

The new birch orchard with the old street as canvas. The wooden hut and the front garden.

138 Richard Proudley ARCHITECTURE 139 A SENSE OF HOME enough unused spaces and residual streams in the city, we could use these to be able to better facilitate THE INTERSPACE AS OPPORTUNITY the daily needs of homeless people. I made two TO IMPROVE SOCIAL NETWORKS FOR rooms in the neighbourhoods where the need is THE HOMELESS greatest: a kitchen at the Dappermarkt, called the Dapperkeuken (Dapper Kitchen) and a bedroom Patrick Roegiers in the Jordaan, the Bedsteeg (Bed Alley).

Waste served as the basic material. Waste A Sense of Home arose from the fascination about products from the market were used to cook in the how and when someone feels at home and the Dapperkeuken; the Bedsteeg was made from collected question how this would work for homeless people waste cardboard, which was pressed and treated as who have no house or home. Architects should a new modular building material. I conducted these expose social issues and look for spatial solutions experiments with family and friends. The act of to them. There is a great sense of urgency in this coming together with a shared purpose, created regard among the growing group of homeless a sense of connection at a local level. Although the people in the Netherlands that paradoxically presents people from the neighbourhood had their doubts itself as a welfare state. As long as the problem is in the beginning, they became increasingly involved not put on the agenda at state level to a sufficient in, and part of the project during the process. extent, bottom-up alternatives must be sought. But what do the homeless actually need? The role of an architect and creating architecture is open to question nowadays. This project shows that In order to investigate this, I lived on the streets in architecture is much broader than simply building. Amsterdam for a week. One of the most important If you listen, look and collaborate, architecture is no insights was that homeless people view their longer a goal in itself, but an element that fosters neighbourhood as home, but rooms are missing in social connection. their ‘house’. Their ‘living room’, ‘bedroom’, ‘kitchen’ and ‘bathroom’ are spread across the city like a fragmented network. As a result of this, they move Graduation date: 27 February 2019 to places outside the city, which causes stress, Graduation committee: Machiel Spaan (mentor), Lada Hršak, Merijn de Jong anxiety and physical suffering. Because there are

140 ARCHITECTURE 141 The Dapperkeuken. A kitchen at the Dappermarkt that uses the waste from the market to prepare meals for homeless.

The homeless network. All the functions that are provided for homeless in the city, showing a fragmented and missing network.

Towards virtue. Providing a place to sleep and eat for homeless in their immediate neighborhoods. Connecting social needs with spatial solutions. Scale model 1:20. A spatial study for atmosphere in a narrow space, using height as a spatial element for quality.

142 Patrick Roegiers ARCHITECTURE 143 The Bedsteeg. A bedroom in the Jordaan made from waste cardboard. Installed high up between the walls of the alley.

Exploded view. The Bedsteeg. The modular cardboard elements interlock, Interior. The Bedsteeg. Windows made from layered and the treated carboard provides corrugated cardboard to filter and get light in, plus windows shelter from wind, cold and rain. in the side walls to frame adjoining walls for atmosphere.

Building process. Installing the Bedsteeg in a narrow alley with the help of a scaffolding system and friends, family and the neighbors.

144 Patrick Roegiers ARCHITECTURE 145 THE SIXTH RING hands formed into a bowl, in which the seating merges into an increasingly steep slope with apartments. A PERMANENT LOCATION FOR THE WINTER OLYMPICS Visitors approach the stadium via the wide square at the front and move from the foyer to the surrounding Bram Ruarus seating, or simply come for the atmosphere and the community, and make use of the functions on the facade and in the gallery. Residents approach the The Olympic Games bring a lot of publicity, awareness stadium by foot to the entrances at the sides. and investment opportunities to the organising Inside, they move across closed galleries to the two countries and cities. Nevertheless, this Olympic medal inclined funiculars, which bring the residents to their also has a reverse. After the Games, there are often own floor. Another way for gaining access to their cases of bankruptcies and vacancies when it comes home is the parking on their own floor, after which to the recently built sporting and accommodation they can go straight across to the apartment. Each complexes, resulting in abandoned areas and general resident can enjoy their own personal skybox from disillusionment. The Sixth Ring is a design research the living room and from the spacious roof terraces. into a permanent location for the Olympic Games, making use of new architectural design techniques. Extensive use was made of 3D modelling software and Virtual Reality for the final result. These tools The Olympic Park in the Norwegian city of were able to accommodate the complex programme Lillehammer has a lot of potential for flourishing and show the different stacked structures. once again as a vibrant and permanent winter sports Moreover, each design step could be tested from centre. The hybrid stadium will host sport, housing the human perspective. In this way, the graduation and recreation. This mix will provide a nice living work is a test case and a plea for making use environment, which can be used in the intervening of new techniques that make it possible to design period between the Games. It will serve as a catalyst on the basis of human scale and experience. for the city and its surroundings.

The stadium is circular and follows the rising line Graduation date: 9 May 2019 Graduation committee: Rik van Dolderen (mentor), of the landscape. The centrepiece is a conventional- Paul Vlok, Hiroki Matsuura looking stadium, which fans out upwards like two

146 ARCHITECTURE 147 From the higher roof terraces, the residents have an unobstructed view of the arena and they are directly connected with the immediate neighbours.

148 Bram Ruarus ARCHITECTURE 149 QR codes for Android that give access to the 3d model of the building and environment.

Aerial view: Everything in and around the building revolves around sport, living and recreation.

The longitudinal section provides insight into the world under the ground and shows the way in which the building blends in with the rising line of the landscape. The front and rear facades are the same as each other.

Map showing that everything in and around the building revolves around sport, living and recreation: 1. Olympic Stadium 2. Olympic square 3. Promenade 4. Tennis courts 5. Athletics track 6. Football fields 7. Sloping expanse of grassland 8. Goods entrance The foyer has a robust appearance as a result of the 9. Student accommodation 10. Birkebeineren Hotel. use of cast-in-situ concrete and polished floors.

150 Bram Ruarus ARCHITECTURE 151 KRASNAPOLSKY ourselves at a turning point: it is a company that has grown increasingly detached from the city due THE LOST HOTEL to takeovers and growth and is no longer borne by the residents. The process of layers being added by Job van der Sande human hands has failed in the Krasnapolsky.

Krasnapolsky — The Lost Hotel is a search for the The human city consists of stories, memories, possibilities of this centuries-old human city. It which are borne by events; events that take place shows how it is constructed and how seriously we in this city, outside on the street, on the squares, in need to make the choices about what to preserve the alleyways, the doorways, the bar, the gardens, or discard. It is important to understand which the houses and in the rooms of the houses. This choices were made to discard programmatic details project is an ode to this human city, which forms of the city, and why? Can patterns be discovered our home through intuition and instinct. The city therein? in which people create spaces and in which people adapt to the space that they use. Krasnapolsky — The Lost Hotel is an ode to the human city. Through the opening of interspaces and The city is dynamic and transforms in a constant the reinterpretation of the lost programme of the static of adjustments. Streets are dug up, sewers hotel on Dam Square, the project emphasises the are renewed, foundations are strengthened. Each possibilities and opportunities for the implementation adjustment offers new opportunities, as a result of of public functions in unused spaces that have which the perspective on that same city changes. arisen over the years on, under, between and in Creativity is stimulated by this change and provides the hotel complex. freedom for new developments.

The case of the Krasnapolsky can be interpreted Graduation date: 9 July 2019 Graduation committee: Lada Hršak (mentor), as precedent and demonstrates how we can utilise Wouter Kroeze, Uri Gilad space that gradually arose in our cities evaluated by humans. The project shows how a small café developed into a gigantic hotel in the city centre of Amsterdam. It also demonstrated that we find

152 ARCHITECTURE 153 X-ray axonometric projection of the lost spaces of Krasnapolsky.

154 Job van der Sande ARCHITECTURE 155 1853–1870

1892–1903

Accumulation of historical layers.

1938

The lost gardens of Krasnapolsky.

2017

Timeline of the creation of Grand Hotel Krasnapolsky.

Map of hidden spaces.

The evolution tower.

Axonometric projection of the hotel complex with the spatial interventions of the lost hotel above, below and in-between. Entrance of the interspaces.

156 Job van der Sande ARCHITECTURE 157 LIFE IN THE YARD For my village of Anna Paulowna, I found a forgotten place between the village centre and Tristen Vreugdenhil polder land that is ideally suited for senior citizens’ accommodation. I used ingredients, derived from the old family farm, as the basis for creating a new In the ribbon village Anna Paulowna, situated in form of collective senior citizens’ accommodation. the polder in the northern tip of the province of Noord-Holland, my grandpa cultivated the fields The basis of the design is a patchwork of yards and of his farm for decades. Just like the generations barn homes, which form a relationship with the before him, he passed this on to his son. He environment. The barns sometimes touch or overlap continued to work on the farm for years. Around each other and shape a landscape with a rich mix the turn of the century, this tradition came to an of interspaces and yards, each with its own identity end: the farm had to make way for industry and and collective programme that reaches out to other glasshouse horticulture. Grandma died and grandpa inhabitants of the village. The senior residents all moved to a senior citizen apartment in the village. have small comfortable homes and a few luxury In that same year, he saw how the place disappeared. collective functions, which are positioned in such He not only lost his native soil, but also his lifestyle, a way that it invites to lead an active life and roam his social network and the place that provided his around the yards. It is stimulating interaction and identity for so long. From being a fit man, he togetherness, thus reducing the demand for care suddenly aged years and his only wish was to be and creating a climate where elderly people from reunited with grandma. the countryside can grow old in a place where they feel at home. A living environment for elderly people that is in keeping with their lifestyle — a culture of cooperatives, clubs and associations, and support Graduation date: 10 January 2019 Graduation committee: Machiel Spaan (mentor), for each other — is often still lacking in the Ira Koers, Milad Pallesh countryside. With the increasing senior population, it will be an issue in many municipalities in the Netherlands.

158 ARCHITECTURE 159 Integration of the collective living environment in the 'ribbon village', a patchwork of yards and barn homes. The barn homes are, surrounded with collective functions and yards.

160 Tristen Vreugdenhil ARCHITECTURE 161 The spaces per home in the residential barn: kitchen (collective), reception room (private), conservatory (private), patio (shared with the neighbour).

The barn homes define the yards.

The orchard, a place to meet each other.

The ingredients for the design are derived from the former farm. The former family farm.

162 Tristen Vreugdenhil ARCHITECTURE 163 URBANISM

The farm as production landscape, a self-sufficient whole with space for humans, plants and animals.

164 Tristen Vreugdenhil URBANISM We do not have much time to do that and — to achieve this monumental task — we will need OR THE DISCIPLINE THAT NEEDS to rethink the city and how we reorganise our TO REWRITE THE OPERATION MANUAL habitat in such a way that earth can remain our TO SPACESHIP EARTH — IN ONE spaceship in the future. GENERATION In recent years, these strategic tasks have become increasingly important. Urbanism is not only about In 1969, Richard Buckminster Fuller published his beauty or improvements to the quality of life of book Operation Manual to Spaceship Earth. It was individual residents; urbanism is about changing the at this moment that mankind landed on the moon operation manual to spaceship earth as a whole. and when it seemed like it would only be a matter of years before humans became a multi-planetary The graduates in Urbanism at the Amsterdam species. But it was also the moment when the Academy of Architecture take this task seriously fragility of spaceship earth found its visual expression and they show that solutions are possible. They in 'Earthrise', the picture taken from the moon by provide answers to climate change challenges the crew of Apollo 8. Never before had people in a proactive and forward-looking way. seen how vulnerable our existence actually is. Fuller — already back then — understood that Both graduates, Ania Sosin and Andreas Mulder, to keep our spaceship operating, it needs to be rewrite part of the manual of the respective cities maintained. Today, 50 years later, we have to they worked on: Warsaw and Amsterdam. Both tackle conclude that maintenance has been insufficient, a particular urban system, but they do it with a resulting in irreversible damage to our climate. totally different approach and differing results. To deal with that, and to avoid the situation from Ania redefines the river Wisła as a natural ecosystem becoming worse, we need to take action. With that can be accessed and protected right in the an increasingly larger proportion of the global middle of a city in a unique way. Andreas reintroduces population living in cities and with building, energy water transport of goods into the city of Amsterdam, production and transport being the largest source building on the past, while adjusting and updating of emissions, cities are key to finding answers the system to suit contemporary needs and to that challenge and it is our task as urbanists technologies at hand. to lead this process.

166 Markus Appenzeller URBANISM 167 The results should not be seen as austerity THE BATTLE OF AMSTERDAM measures in light of the extinction of the human race, but as leaps into a better future — a future A LIVEABLE CITY THROUGH A NEW that can shine as bright as it did in 1969 — but MANNER OF URBAN DISTRIBUTION this time with change that is not confined to mere words in books, but which unfolds in our cities. Andreas Mulder

Markus Appenzeller The liveability of cities is under pressure worldwide. Head of Urbanism The shift from an industrial manufacturing economy to a service economy or a so-called knowledge economy is primarily taking place in urban regions. This is resulting in larger, busier and more popular cities. Forecasts from the United Nations predict that approximately 70% of the global population will live in cities by 2050. Without intervention, this increasing urbanisation will lead to shortages in the housing market, more C02 emissions, traffic congestion, logistical problems, mass tourism and reduced public health.

The liveability that is under pressure is a generic problem in European cities. A new perspective on the city is needed. This project is based on trends that demonstrate a noticeably sustainable and future-oriented lifestyle. The city functions as the urban dweller’s living room herein: all facilities are in the vicinity, there is a growing bicycle culture, car ownership is falling, use of public transport is rising and the demand for a green and healthy living environment is increasing. In order to

168 Markus Appenzeller 169 facilitate this sustainable lifestyle, a specific solution is needed for each city.

In the case of Amsterdam, the solution lies in a systemic transformation of the urban distribution. While the centre of Amsterdam was dimensioned to cater for horse and carriage, large, heavy lorries now use it. That has chiefly negative and costly consequences: high C02 emissions, noise pollution, road accidents and material damage to quays and bridges. This problem will only grow worse given that logistics is expected to grow by approximately 400% worldwide.

My design for Amsterdam is based on a systemic transformation in the urban distribution from land to water, in which the flow of goods from coarse to fine (lorry — goods boat — small-scale electric transport respectively) will be directed via logistics hubs. These logistics hubs, divided into urban hubs and district hubs, exert control over the logistics flows and therefore also over the liveability of the New urban plan for the Coenhaven and Vlothaven ports with integrated logistics urban hub. city. This new manner of urban distribution makes it possible to develop a liveable city of the future and creates space for the sustainable lifestyle of the 21st century.

Graduation date: 10 July 2019 Graduation committee: Martin Aarts (mentor), Ton Schaap, Marc Verheijen

170 Andreas Mulder URBANISM 171 View from the urban hub over the largest harbour basin of Haven-Stad. The park is part of a public route along the water.

The proposed system with three modalities: freight traffic (yellow), goods boats (blue) and small-scale electric traffic (orange).

Front elevation of the logistics urban hub with space above for shops, sports facilities and a public park.

The current logistics system, View from above of the district hub in the city centre with broad scaled according to intensity. bicycle streets, walkways and seating areas by the water.

172 Andreas Mulder URBANISM 173 VAVALAND

AWAKENING A SLEEPING BEAUTY

Ania Sosin

Warsaw is an example of a city with an impressive rate of change that took place especially during the twentieth century.

In the 1930s, the capital of Poland was seen as being of great, intercontinental importance for its strategically central location. At the intersection between Europe and Asia, Baltic Sea and Black Sea, Warsaw was imagined as a major transit hub and meeting point for political, economic and cultural purposes. The system is also applicable to other cities. The regulation of the traffic flows, from coarse to fine, is the guiding factor in this respect. One of the goals of the Germans during the Second World War was Warsaw’s total destruction and the creation of a military unit of German soldiers on the remains of the city. The plan was not implemented, even though the damage to the city was enormous.

After the war was over, Poland was colonised and made into a Communist state. Urbanism and architecture became tools of propaganda and Soviet domination. The scale of buildings and the sections of streets and squares were designed to overwhelm the inhabitants, to reduce their

174 Andreas Mulder 175 sense of importance and turn them into an instrument of a system.

Parallel with the fall of Communism, a new era began, with capitalism and rampant reprivatization processes. It resulted in an ungraded property law and acupunctural urban planning without clearly defined rules. This era continues to this day, with Warsaw revealed as a patchwork city of former influences. This fragmentation has generated many problems.

This thesis is an attempt to look at the fragmentation and chaos of Warsaw and the potential features already available for creating a better city. It is also a document of discovering the importance of the role of human cooperation to facilitate the realisation of a shared vision.

Graduation date: 7 February 2019 Graduation committee: Hans van der Made (mentor), Mark van der Heide, David Kloet

The proposed spatial changes of a selected fragment of the city, showing the relationship between the forgotten river and the over-occupied ridge. From top to bottom: juxtaposition of the designed layers; zones and program; urbanisation; a-biotic layer; existing situation.

176 Ania Sosin URBANISM 177 Linear vision of activities along the city spine, the ridge and the river.

A masterplan of the selected location (transformation of Pelcowizna district), which is proof that you can densify the city with blue, green and red structures.

Juxtaposition of spatial strategies for the city, created in order to make it more compact and integrated. The ridge and the river as a link between separated districts. The view at the new artificial islands, reconstructed on the basis of the former riverbed.

178 Ania Sosin URBANISM 179 LANDSCAPE ARCHITECTURE

The river floodplains as a place for leisure, recreation and resumed contact with the river, which is currently very limited by infrastructure or land ownership conflicts.

An example of an urban interior inspired by the old Varsovian typology that is the city’s identity. Today, the buildings that survived the war are threatened with demolition.

180 Ania Sosin DESIGN POWER The Landscape Architecture graduation students of 2019 show us that they are fully aware of their responsibility. Not only do they design beautiful Seventeen sustainable development goals were new environments. All of them have conducted specified in the 2015 Paris Agreement, as part of the research into new landscape systems, and have United Nations Framework Convention on Climate used their research to come up with spatial designs Change. More than half of these goals are directly based on that systems thinking, creating new public linked to our profession. Landscape Architects urban spaces for flora, fauna and humans. feel the responsibility to contribute to these global ambitions more and more. We are currently moving Simon Verbeeck has focused his research on the forward at a fast pace as a discipline. Evidently, recent droughts that have affected the Flemish Landscape Architects think in long terms and large landscape. Simon has designed a landscape of areas, by nature. And just that is needed. 'drinking water batteries' in the metropolitan landscape of Antwerp that form a new green finger Landscape (and urban) design disciplines are used structure. This provides new opportunities for to conduct research and design on all scales; from water retention, heat stress reduction, recreational regional to 1:1 construction scale. In the near future, values and a new economic model. we will need to scale up our research and design thinking, because of the growing complexity and Charlotte van der Woude has looked thoroughly into areas to consider. Design power is needed on the the underground landscape system and structure of scale of continental landscapes and even the global London, where most of the natural landscape has scale. vanished under the urban fabric. She has made a design for a ‘new nature’, facilitating a whole new Landscape architects are system- and structure- type of underground habitat. This will hopefully thinkers, and we are currently broadening our inspire new ways of thinking about our landscape; perspective; not only by looking at bigger landscape perceiving its 3D complexity: under, on and above systems, but also by looking into landscape systems, the ground. which are relatively new within our discipline. These include underwater and underground systems, Jean-Francois Gauthier has conducted research forest ecology systems, the energy production and into the system and possibilities of urban forests. storage systems, and so forth. He has made a design for various public spaces in

182 Hanneke Kijne LANDSCAPE ARCHITECTURE 183 Brussels that will be connected to each other in the BEASTS’ CITY future through the underground system of tree roots. Jean-Francois shows us that urban forests TRANSFORMING SLOTERDIJK TO are needed and can be beautiful urban spaces. ACHIEVE CO-LIVING WITH NATURE

Francesco Carraso is convinced that the interaction Francesco Carrasso between intense urban living and wildlife could bring new qualities to urban life. He has taken his research on soil types as the basis to design new Designers of the Anthropocene era have to landscape typologies that welcome different work with and for nature in order to reintroduce species into the urban environment of Sloterdijk its beauty and functionality into our everyday life. station in Amsterdam. That will create new and As humans, we are colonising every single spot interesting encounters and interaction between on earth. According to the United Nations, 55% species in the city. of the human population is currently living in cities and by 2050 this number will rise to 70%. The I am proud to see that these students have shown migration to cities, combined with the growth of their optimistic responsibility; designing in such a the population will result in occupying more natural way that different spatial demands are connected surface and to the densification of our cities. and combined, disciplines are integrated and value is always added. This graduation project examines the quality that the interaction between intense urban living and wildlife could bring to the everyday life of the Hanneke Kijne citizens of Amsterdam. The future development Head of Landscape Architecture of Sloterdijk station served as a case study. The Sloterdijk area will be one of the main nodes where a transformation from office area to a mixed-use one will merge with a scenario where encounters with animals occur on a daily basis.

Beast's City uses the opportunity provided by the existing soil types to reproduce landscape

184 Hanneke Kijne 185 typologies that will welcome different wild species that already exist in the vicinity of this area of Amsterdam.

A network of paths will lead users through the surroundings of one the main stations of Amsterdam. Different types of public space will be developed in order to facilitate the encounters between human beings and wildlife: a benefit that is becoming more and more rare within the city's boundaries.

The behaviour of eight species has been studied to ensure encounters. Each animal with its specific habitat will be connected visually and physically with the surroundings where humans work and live, creating an interaction that at present only exists in wild spaces. To co-live with nature, we need to change our way of looking at it, embracing it and bringing it into our daily lives.

Graduation date: 28 August 2019 Graduation committee: Roel van Gerwen (mentor), Thijs de Zeeuw, Angelo Renna

To shape the landscape I have created remote Each of those principles in the area, the places for both humans is translated into a attitude and probable and animals to enjoy special design that movements in the area their habitat, as well as ensures a livable space of each species has a place where the co- to create encounters been studied. living can be enhanced. between the different species.

186 Francesco Carrasso LANDSCAPE ARCHITECTURE 187 Recreating natural landscapes in the city will enable humans to live in co-existence with nature in everyday life. Reusing the soil to create landscapes that are in keeping with an area is a way to merge the cityscape with the landscape and to create a new entity in the city that will function as an exchange between humans and nature.

188 Francesco Carrasso LANDSCAPE ARCHITECTURE 189 Different moments along the network of paths will enhance the co- existence of human beings and nature. In relation to the specific habitat of a species, specifically designed spaces improve the interaction between humans and animals.

Around the ponds there will be elevated rock benches for humans to admire the toad’s spectacular life. Dama dama is a very social animal. It is important to make sure that there is a space for the fallow deer Natrix natrix is a snake that lives in the to walk and rest. swampy areas. To create a perfect space for these snakes, it is vital to ensure a consistent amount of reeds and swamps.

190 Francesco Carrasso LANDSCAPE ARCHITECTURE 191 TREES FIRST around tree communities. Forest succession will bring a new temporality in the densely populated THE PUBLIC SPACES OF THE FOREST CITY Belgium capital.

Jean-François Gauthier This project takes the very centre of Brussels as a case study, which is the most transformed area of the city. A hidden water system, artificial Increasingly, adding trees to the city is a new goal topography and remains of the initial Brussels valley on the urban agenda in order to fight climate change. define a potential forest territory. Different urban There is an interesting contrast when looking at situations and very contrasted forest habitats can the average lifespan of trees in the cities: 30 years. be found within the perimeter of our project area: The reason is that trees are still being seen from the Boulevard Anspach and its surroundings. a utilitarian perspective and as urban furniture in European cities. As 70% of the population Four main forest typologies are defined: the is expected to live in an urban setting by 2050, Canyon Forest Boulevard, the Hill Forest Square, a radical approach towards urban nature is needed. the Wetland Forest Park and the Mountain Forest Forest should become a precondition for a healthy Towers. A green network is built around these living and urban development. four forest typologies thanks to soil continuity and permeability. New urban programmes can Tomorrow, we will plant forests in our cities rather be developed around them. A set of design rules than trees. Cities will adapt to forest plant is defined from these case studies, exploring key communities’ needs. Space will be made for forest urban habitats, trees communities, succession succession and spontaneous growth to proceed. strategy and urban benefits. These guidelines can Cities will receive great benefits in return in terms become the base for a matrix for the European of ecosystem services, and urban forests will Forest City. contribute to public health.

Let’s focus on trees in the city and their needs as a Graduation date: 28 August 2019 Graduation committee: Jana Crepon (mentor), starting point for a better design of public space. Mirjam Koevoet, Wiebke Klemm Let’s look at Brussels as a potential forest territory and let’s establish new public space typologies

192 LANDSCAPE ARCHITECTURE 193 Mountain Plateau

Steep Slope Canyon Hill

Wetland River

Mountain Plateau

Steep Slope Canyon Hill

Hill Wetland

River

Canyon Habitat | Boulevard + Metro Station Mountain Habitat | Modernist Tower What is a Forest? The adaptation Hill Habitat | Square Anneessens of trees towards very specific Wetland Habitat | Park Fontainas habitat results in the formation River Senne initial water course Where Extremes Meet. As the most transformed part of forest communities. Let’s look Canalised River Senne at the city as a potential forest of the city, very contrasted forest habitats can be found Open-air River Senne within a very small perimeter; it is a chance for a new type territory. of nature in the very centre of the Belgium capital. Brussels as a Forest. Hidden water systems, artificial topography and remains of the initial Brussels valley define the potential territory.

A Backbone for the Resilient City. Soil continuity and permeability are the precondition for the new forest to settle as well as for the city to become resilient.

194 Jean-François Gauthier LANDSCAPE ARCHITECTURE 195 The Wetland Forest, Fontainas Park. The Wetland Forest Park lies in the lowest part of Brussels; it is a mosaic of wet habitat The Hill Forest, Anneessens Square. The Hill Forest Square can be found at to be found in the plain, the valley and the wet fringe. the edge between the valley and higher land; a gradient of moisture defines a specific habitat where Tilia cordata is the key community species.

The Mountain Forest, Brouckère Tower. The Mountain Forest Towers is a vertical and contrasted territory where very specific tree communities can survive. The Canyon Forest, Anspach Boulevard. Contrasted seasonal changes from flood to extreme drought, green walls, open perspective, clumps and open understory define the Canyon Forest Boulevard.

196 Jean-François Gauthier LANDSCAPE ARCHITECTURE 197 METROPOLITAN DRINKING WATER PARK and ecology. The infiltration and buffer capacity is preserved through the design of ecosystems, so THE SANDY SOIL OF DE KEMPEN NATURE animals manage and transform the landscape at low RESERVE AS SUSTAINABLE DRINKING cost as ‘landscape engineers’. Ecosystem services WATER BATTERY FOR FLANDERS pertaining to the drinking water production (quantity and quality) and the nature-supporting sustainable Simon Verbeeck forms of agriculture yield more for the landowners. Architectural design elements and the activation of natural processes are combined in the transformation Flanders is experiencing a drought crisis that is of the landscape. For example, paths with integrated slowly escalating into a genuine drought disaster. storage dams are introduced and beavers and their From 2020, the Flemish government will be forced dams are given a place. The new drinking water to selectively turn off the tap with a shutdown plan. landscapes form a continuous green structure in the My analysis and design-based research clearly show valleys around Antwerp. A metropolitan landscape that a spatial solution to drinking water production arises that connects the Antwerp conurbation of the within the fragmented spatial structure of Flanders Beneden Schijn Basin recreationally — through the is needed. The sandy soils of De Kempen nature construction of bicycle highways — with the city reserve turned out to be ideally suited for this. The centre. A new green structure covers the ring road. restoration of the infiltration and buffer capacity within one of De Kempen’s sub-water basins, the The new green spaces provide cooling and clean air basin of the Beneden Schijn river, can generate to compensate for the poor air quality and increasing sufficient water annually in order to provide the whole heat stress of the city. The drinking water extraction of Flanders with drinking water. The basin of the is visibly designed in the landscape, as a result of Beneden Schijn was not only suitable due to the which the story of the drinking water production, the underperforming agricultural and forestry production, metropolitan drinking water park and the industrial but the proximity of the city of Antwerp also provides side to this landscape are made palpable. opportunities for the future recreational functions.

Four different landscape types transform the water Graduation date: 6 June 2019 Graduation committee: Lodewijk van Nieuwenhuijze (mentor), basin into a drinking water battery that simultaneously Steven Delva, Jorryt Braaksma holds out prospects for the local economy, recreation

198 LANDSCAPE ARCHITECTURE 199 Infiltration areas. Maximum infiltration is achieved by opening up the sandy soils in combination with pumping up and re-infiltrating the city’s effluent. The surfacing that covers the sand ridges also contributes to that.

Seepage zones. Addition of architectural elements in combination with natural processes in the valleys stop the draining effect and push a constant quantity of water.

Upscalability and the rewilding of Europe. Due Drinking water extraction. As multisectoral objective, the to the exodus to the city, no less than 20 million landscape conditions for the drinking water extraction hectares of agricultural land will be rewilded in provide new and sustainable future prospects for the Europe by 2040. De Kempen is the opportunity Beneden Schijn Basin. for Flanders to join in with this.

200 Simon Verbeeck LANDSCAPE ARCHITECTURE 201 Sustainable metropolitan drinking water park. The drinking water landscapes form a new continuous green structure in the valleys around Antwerp.

From drainage machine to drinking water battery. Four types of land use occur alternately and are causing the drying out of the groundwater and the ecological and economic backlash is already being experienced now, which is escalating. Sand bed of De Kempen as drinking water buffer. The sandy soils that have always made De Kempen a disadvantaged region can now become an important and innovative economic motor: water becomes gold.

202 Simon Verbeeck LANDSCAPE ARCHITECTURE 203 NATURE IS UNDER YOUR FEET As a result of this, it seems that we need to travel far to find ‘nature’, but what if we look more DISCOVERING LONDON’S UNDERGROUND carefully at our nearby surroundings? Is nature LANDSCAPE AS A POTENTIAL NEW still present? Isn’t it just covered beneath all these NATURE artificial city layers, beneath our feet? Is nature closer than we think? If it still is present in our Charlotte van der Woude underground landscape, can we try to integrating these hidden structures into the city?

Since ancient times, people have been closely In order to find answers to these questions, this connected with their surroundings. When settling project investigates the city of London, where down and finding a place to live, humans would many of the former tributaries of the Thames are always find strategic spots in the landscape to build now buried beneath layers of concrete. Like many a home. The topography, the presence of water, other cities worldwide, these tributaries were trees and the type of underground landscape the starting point for people to settle down, shaped our first settlements. Restrictions and but because of heavy pollution in the industrial era, opportunities, in terms of resources and climate, they have been turned into underground sewage resulted in a particular use of the surrounding systems that date back to the Victorian times. landscape and it resulted in knowledge of the place, This graduation project tries to discover if this but above all a sense of belonging and identity. hidden structure could be a chance to create ‘new nature’; one that cannot survive the harsh Today, some of these settlements have changed city life on top, but which can facilitate a whole radically and turned into ever-expanding cities. The new type of habitat: a fragile nature to be connection with their subterranean and original discovered under your feet. landscapes has become blurred and can hardly be experienced. Layers of concrete and asphalt have covered the landscape’s rivers and soil. Not only Graduation date: 8 July 2019 Graduation committee: Mirjam Koevoet (mentor), does this affect how people experience the city, Ricky Rijkenberg, Paul Achterberg but it also reveals how our cities respond to current problems like climate change, the degradation of biodiversity and decrease in water supply.

204 LANDSCAPE ARCHITECTURE 205 The twelve underground former tributaries of the Thames river marked in red.

A river landscape Occupation along Industrial use of the Covered streams with A potential new with side brooks the side brooks water: canalisation the city on top nature?

The former river Fleet and today’s Fleet sewer as a case study for a potential new underground nature.

General growth of cities along rivers: tributaries turned into underground sewage systems.

206 Charlotte van der Woude LANDSCAPE ARCHITECTURE 207 Ray Street: the Fleet sewer jumps one meter down due to its location on the Thames river terrace. Holborn Viaduct: the Fleet sewer will be linked to one of the historical bridge houses, creating connections between three city levels.

The new bat cave and fauna wall connect the Fleet sewer and the levels of the city and the bridge on top.

The Fleet sewer is extended to the city level, creating an artificial Blackfriars: the Fleet sewer will be reconnected with the cliff that can serve as a habitat for river Thames, letting the tidal river flow into the city. species such as ferns and moss. One of the three chambers that respond to the tidal river Thames.

208 Charlotte van der Woude LANDSCAPE ARCHITECTURE 209 Architect, Urbanist, Landscape Examiners 2018—19 Architect: Master of Science

Architects, urbanists and landscape knowledge, insight and skills. The Maud Aarts architects learn the profession at the exercises, often linked to the design Mariëtte Adriaanssen Amsterdam Academy of Architecture projects, are focused on training Jeroen Atteveld through an intensive combination in those skills, such as analytical René Bouman of work and study. They work in techniques, the use of materials, Bart Bulter small, partly interdisciplinary groups text analysis, and writing. The Marc a Campo and are supervised by a select group morphological studies concentrate Rik van Dolderen of practising fellow professionals. on the making of spatial objects, Elsbeth Falk There is a wide range of options with the emphasis on the creative Jan van Grunsven within the programme so that process and making projects, gaining Micha de Haas students can put together their experience in converting an idea into Jochem Heijmans own trajectory and specialisation. a creation. Albert Herder With the inclusion of the course in Lada Hršak Urbanism in 1957 and Landscape During the periods between the Floris Hund Architecture in 1972, the Academy terms there are workshops, study Bastiaan Jongerius is the only architecture school in the trips in the Netherlands and abroad, Herman Kerkdijk Netherlands to bring together the international exchange projects Niké van Keulen three spatial design disciplines under and other activities. The Academy David Kloet one roof. regularly invites foreign students Ira Koers for the workshops and recruits Judith Korpershoek Some 350 guest tutors are involved well known designers from the Wouter Kroeze in teaching every year. Each of them Netherlands and further afield as Miguel Loos is a practising designer or a specific tutors and lecturers. Peter Lubbers expert in his or her particular subject. Jeroen van Mechelen The three heads of department Graduates from the Academy of Berdie Olthof also have design practices of their Architecture are entitled to the Jarrik Ouburg own in addition to their work for following titles: Architect, Urbanist, Marc Reniers the Academy. This structure yields and Landscape Architect, with the Ricky Rijkenberg an enormous dynamism and energy addition Master of Science. Florian Schrage and ensures that the courses remain Machiel Spaan closely linked to the current state of A self-chosen graduation project and Marieke Timmermans the discipline. committee guides the student during Jolijn Valk the last year’s master proof: the Saline Verhoeven The courses consist of projects, graduation project. The final exam is Martine Vledder exercises and lectures. The design being examined by their mentors and Philomene van der Vliet projects form the backbone of the two added examiners. John Westrik syllabus. On the basis of a specific Winfried van Zeeland design assignment, students develop Herman Zonderland

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Advisory board Markus Appenzeller, Hanneke Kijne, Jan-Richard Kikkert, Madeleine Maaskant, Bruno Vermeersch, Michiel Zegers

Editor Vibeke Gieskes

Special thanks to Joseefke Brabander, Janna Verhoeven

Translation and text correction Richard Glass

Graphic Design Arthur Roeloffzen

Printing Art Libro | Cassochrome

Publisher Amsterdam Academy of Architecture Waterlooplein 213 1011 PG Amsterdam The Netherlands T +31(0)205318218 [email protected] academyofarchitecture.nl

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© 2019 Amsterdam Academy of Architecture

ISBN 978-90-827761-7-1

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