Eindhoven University of Technology

MASTER

Het Appollohuis vibe - a third type art space

Wang, J.

Award date: 2016

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INDUSTRY PAST & FUTURE

Industry Heritage in Noord-Brabant Wang Jinxiong

0925367 Architecture, Building and Planning Department Eindhoven University of Technology Shenyang, China [email protected] HET APOLLOHUIS

Former Cigar Factory ( Unknown-1921 )

This Graduation Studio deals with the complex issue of the redevelopment of industrial heritage. In Brief this studio we look at industrial heritage within the social, economic, historical and spatial context. The studio focused on a number of sites in Noord-Brabant.

Noord-Brabant used to be a major industrial region with abundances of textile, food and cigar factories. Nowadays Noord-Brabant is filled with old industrial buidlings. Some of those are beautiful, most of them are unnoticeable, many are ugly. However, beautiful or ugly, they have played an important role in the development of Noord-Brabant. And together, in many different ways, they are part of the collective memory of Brabant. Today many of these buildings are vacant and slowy falling apart. Something needs to be done...

There are two central themes in this studio:

·Heritage Preservation: what meaning is embodied in these buildings and how can this be integrated in a transformed building.

·Area development: what can be the role of Industrial Heritage in area development.

Supervisory Committee prof.dr.ir. Jos Bosman Ir. Marcel Musch Geert Das CONTENTS CHAPTER

1. Cigar Industry & Eindhoven 1

2. Het Apollohuis 9

3. 19

4. Visual Art & Experimental Music 25

5. Analysis of Current Situation & Concepts 31

6. Attitude Essay 39

7. New Designs of Het Apollohuis 45

8. Technical Drawings 109 Chapter 1 Cigar Industry & Eindhoven

1

Picture source:https://smhttp-ssl-39255.nexcesscdn.net/wp-content/uploads/2014/06/Cigar-Making-900x598.jpg Cigar Industry & Eindhoven

The cigar making industry in the has a long last history since It was first founded in the beginning of 18th century. Cigar factories moved from the North Netherlands to the South in the second half of the 19th century and mainly settled down in Eindhoven. Then they experienced a period of rapid growth in following decades. Eindhoven used to be the cigar making center of the Netherlands.

2 1870 Eindhoven used to be of little importance to the Netherlands. Before The first stage for cigar industry was home industry, people started the 18th century, Eindhoven was destroyed and recovered time to produce cigars at their backyards and sold them directly at the after time. However, its location changed its destiny. Eindhoven front of the house. was situated geographically among Rotterdam, Antwerp, Brussels, Liege, Dusseldorf and Cologne. On one hand, the road network of

Eindhoven kept expanding. A road connected Den Bosch and Liege Railways was completed in 1818, which meant more and more opportunities Waterways were coming to Eindhoven. On the other hand, the completion of Roads/Buildings

Channel Eindhovensch in 1846 propelled the social economy into a Cigar Factory whole new level. City Scope 3 1900 The construction of the railway in Eindhoven further consolidated its industrial development. In this period, more and more bigger factories were established.

Railways Waterways Roads/Buildings

Cigar Factory

City Scope 4 1922 After the first world war, cigar industry entered its second mechanical period due to the application of machines in some of its production process, which was the beginning of its second stage, the manufacturing industry.

Eindhoven kept expanding over years, the surrounding villages Railways Woensel, Stratum, Tongelre and Strip were all embedded into Waterways municipality Eindhoven. Roads/Buildings

Cigar Factory

City Scope 5 1936 From the 18th century, radial road pattern became more and more significant for the road network of Eindhoven. Urban facilities were developed based on this pattern. Further more, the city expansion project started to devote its focus to the city periphery along the radians rather than those existing historical buildings. New housing along the radial roads in the surrounding villages were especially Railways built for workers who worked for those factories. Housing inside Waterways the city was favored by middle class and upper class families . This Roads/Buildings plan made Eindhoven become increasingly welcomed by workers. Cigar Factory

City Scope 6 1952 Around 1950, cigar industry in Eindhoven region started to accompanied by the demolition of a lot of large scale factories in decline. In the Second World War most of houses and factories in order to realize the metropolitan plan for Eindhoven.The vacancy Eindhoven were destroyed because Phillips was the main target of left by those large scale factories were filled by the construction of bombing. The reconstruction began at October 1949 in order to Heuvelgalerie and master Smalle Haven afterwards. rebuild the city and further develop the traffic system at the same time. Railways Waterways One one hand, some of the factories disappeared because small Roads/Buildings home factories could not afford the reconstruction. On the other Cigar Factory hand, constructions of more social and cultural infrastructures were City Scope 7 8 Chapter 2 Het Apollohuis

9 History of Het Apollohuis Het Apollohuis was an independent and internationally oriented platform in the arts, based in Eindhoven, the Netherlands, in a former nineteenth century cigar factory.

The programme was directed at all artistic disciplines and combinations of media available to artists to express themselves. It focused in particular on the developments in the areas of , new music, performance art and the new media.

Collaborations with other institutions and artist organizers at home and abroad occurred on a regular basis

Since 1980 until 1997 it presented annually approximately 10 exhibitions and installations which featured native as well as foreign artists and about 30 concerts and performances took place in the exhibition rooms. The concert programme made cross-references to the and was focused on the spotting of new developments.

Het Apollohuis frequently invited artists to prepare a work, an exhibition, an installation or a publication. As an artist-in-residence the guest-artist had an apartment, studio space and amenities at his disposal.

Ever since its foundation, Het Apollohuis has also published prints, artist books, multiples, audio- cassette tapes, and developed very much as a publishing house of books, LP records and CDs. These publications supported the programme and promoted the reputation of the artists and Het Apollohuis.

Since the beginning of the 1990s, the programme of Het Apollohuis diminished noticeably due to the government ending its financial support in 1992.

10 Exhibitions in Het Apollohuis

Julius Rene Daniels John Blake Henk Visch 22-25.11.1984 18.4-1.5.1981 5-22.11.1981 14.2-8.3.1981

Trimpin Guy Rombouts Jim Pomeroy Guillaume Bijl 14.12.1996-16.2.1997 20.1-5.2.1984 5-14.6.1987 21.6-30.8.1985

Picture source:https:http://www.paulpanhuysen.nl/ 11 Harald Kubiczak Wolfgang Hainke The Archive Seiji Shimoda 4-27.11.1988 14.10-12.11.1989 1994 29.10.1992

Marthy St.James/Anne Wilson Jerry Hunt Norbert Walter Peters Masami Tada 24.2.1984 23.12.1988 21.10.1989 12.5.1994

Picture source:https:http://www.paulpanhuysen.nl/ 12 Picture source:https:http://www.paulpanhuysen.nl/

Andreas Techler Akio Suzuki 21.4-12.5.1991 27.11.1994

Annette Sauermann Bartolomi Ferrando/ROJO! 11.5-30.6.1996 12.11.1993

13 Developments of Het Apollohuis

1880s - Cigar factory "De Kroon", Family de Vries 1920 - An office was built in the factory,thus two Before WWII - Alexander van Gluck was the owner. van Heaften. entrances and two staircases were added.

After WWII - Riddelee made soap (Acosy) here and Before 1977 - The perfume company - Perfumerie 1977 - Paul Panhuysen and Helene Panhuysen Bata shoe factory used the building as a distribution Apollo (Present Douglas Stores) bought the building. point.

1980 - Exhibitions for Visual arts and Experimental 2001 - Het Apollohuis stopped functioning because 2016 - Het Apollohuis current situation. music started. the goverment stopped financing them. 14 Het Apollohuis before 1921

15 Picture source:Helene Panhuysen 16 Reasons Why Het Apolohuis is Chosen

Roman Signer Inge Mahn 5.3-30.4.1995 22.11-14.12.1986

Artists and designers can get rid of restrictions of urban work and life, and expensive rents. Besides, this former industrial factory can be made use of to serve as residential and working space. This can not only save expenses but also make more room for the exhibition of various artistic behaviors. The large windows and the spatial ground can meet requirements of artistic creation. The cheap rent can reduce their living pressure. Therefore, they choose to live in the marginalized building. In the large factory space, artists can freely create various lifestyles.

Micha Ullman 14.2-14.3.1993

Picture source:https:http://www.paulpanhuysen.nl/ 17 18 Chapter 3 Paul Panhuysen

19

Picture source:http://www.paulpanhuysen.nl/ Biography of Paul 1934 Born in Borgharen, The Netherlands 1954-1959 Jan van Eyck Academie , monumental and autonomous art 1957-1961 University of Utrecht, sociology of art 1962 Mention d'Honneur, Prix Europe de peinture, Oostende 1963 Frisiana Award, Leeuwarden 1962-1964 Director of art school Vredeman de Vries, Leeuwarden 1964-1967 Bende van de Blauwe Hand (The Gang of the Blue Hand), Leeuwarden 1966 Member of educational staff of the Municipal Museum 1965-1974 Invention and organisation of ‘situasies’ 1966-1967 Member of educational staff and public relations, Van Abbemuseum Eindhoven 1968-present Maciunas Ensemble 1967-1968 Free Community of the Global City of Peace and Pleasure 1969-1981 Member of the Board of BBK, Federation of Artists Associations, and founder of the artists unions: OBK and VBBKZN 1970-1981 Member of the boards of CRC, Foundation Kunst en Bedrijf, Social Fund of Artists, and member of the Dutch Arts Council and various committees within it 1971 7e Biennale de la Jeunesse de Paris 1970-1975 Development team of construction scheme ‘de Kraal’ Grote Bos, Geldrop 1971-1977 Environmental designs Eindhoven: Wilgenroosstraat, Van Abbemuseum, City Theatre, Market, School Yard Norbertuslaan 1974-1984 Consulting artist in Nieuwe Schans, and in town planning teams in Zoetermeer/ Buytenwegh de Leyens, Utrecht/Lunetten, and ‘s-Hertogenbosch/Maaspoort, 1980-2001 Director Het Apollohuis Eindhoven 1982-present Long String Installations (until 1991 in cooperation with Johan Goedhart) 1983-1987 Member of the Jury of the Royal Awards of Painting, Amsterdam 1984/85 Festival ECHO. The Images of Sound I

20 1986 New Works Grant of the Massachusetts Council for the Arts, Boston USA 1987 Festival ECHO. The Images of Sound II. Audio Art Symposium II 1990-present Projects with birds and animals 1993 Artist-in-residence Exploratorium, USA 1994 Artist-in-residence Yellow Spring Institute, Chester Springs USA Member of the Jury Ernesto de Sousa Fellowship Portugal 1996 Noord-Brabant Cultural Award 1998 Companion of the Order of the Dutch Lion 2000 Award best exhibition 2000, Galerie Klatovy/Klenová, Klenová 2002 Artist-in-residence Aomori Contemporary Art Centre, Aomori Japan 2004 Honorary Mention, Prix Ars Electronica, Linz 2010 Ehrenpreisträger des Deutschen Klangkunst-Preises 2010 2011 Gerrit Benner Award, Leeuwarden 2015 January 29, Paul Panhuysen dies

Picture source:https:http://www.paulpanhuysen.nl/ 21 Paul Panhuysen's works

Two Suspended Grand Pianos Oh, What a Paradise it Seems Roosevelt Tunes blown by the Wind August 8-19.1990 1982 2005 pigment ink print, July 8-18.2004 Great Hall of the National room installation, Kunst uit Eindhoven in edition 3, 111 x 111 cm Sound Symposium, Building Museum, Frankfurt Cabot Tower on Signal Hill Washington DC USA Bergen Enkheim, Frankfurt St.John’s, Newfoundland, A project of the Washington Canada Project for the Arts and the NBM Picture source:http://www.paulpanhuysen.nl/ Since the 1960´s, Paul Panhuysen has been involved in a range of years until, sadly, financial problems forced its closure. practices relating to contemporary art. His work as an artist moved away from the traditional to experimental, interdisciplinary, and Panhuysen’s work with interdisciplinary media crossing audio and interactive art situated at the crossroads of science-art-music. He visual arts results from an interest in sounds of the natural and man- also led several experimental music groups such as Bende van de made worlds, the consequences of the movement, and his Blauwe Hand and The Maciunas Ensemble. He worked, moreover, previous experience with architecture in the field of urban design. in different museums as a curator and for a while was the director The installation as an object (instrument) transforms the space of an art school. After years of fighting with bureaucracy to find a spatially while the sounds emanating from the object transform context within official institutions of the art world to develop his and it temporally and abstractly. The visible object and the invisible others’ work, he decided to lead the building of a structure that sound are either inside or outside of the space and therefore both would correspond to cultural networks and allow new possibilities. connected within and without. The transformed space is thus The result was the founding in 1980 of Het Apollohuis (The Apollo simultaneously a visual artwork and a medium channelling sound. House), a particular and significant art space that operated for 21 The audience, also both inside and outside of the work, takes part

22 Paul Panhuysen's works

The Mechanical Orchestras Indoor aviary As the World Turns The Mechanical Long String 1994 September 7-9.2001 Orchestra Studio Het Apollohuis Eindhoven IM on very special brief occasions Peter Cox Former Coalmine mixed media, aluminum frame, 20 iron Waterschei, Genk, strings of 280 cm, litttle motors, nylon Belgium chord, wooden balls, timers, adapters, piezo-contact microphones, galvanometers, thin metal sheets as resonators in the ‘situation’, which the artist call his ‘audience-involved’ works. instruments, and found objects. 24.11-10.12.1989 L’Europe des Créateurs. "In this sense a ‘situation’ is not only the metaphor of reality, but also Utopies 1989 Grand Palais des Champs metaphor and reality in the same time". In a time-space context, Elysées, Paris, France these ‘situations’ mix the ephemeral but spatial features of an installation with the ephemeral but temporal features of an action. In his sound installations, Panhuysen is not interested in the traditional qualities of music, like pitch and rhythm, but researches how sound as a 3D medium helps to define and make visible a particular architecture. He has developed his best known installations ("Long String Installations") in this way since 1982. These site- specific ‘wire-installations’ are in fact 3D drawings defined by the architecture of a particular space and expanded in time. Each installation is an experience using different kinds of wires, modified Picture source:http://www.paulpanhuysen.nl/ 23 24 Chapter 4 Visual Art & Experimental Music

25

Picture source:https://nl.pinterest.com/ What is Visual Art?

Visual art creates vivid artworks, including paintings, sculptures, buildings, decorations and handicrafts, based on relevant materials. As a means for experience, it is a plastic art based on various materials, including wood, cement, copper and cloth. The three- dimensional form is the dominant style. Even the graphic two-dimensional paintings give audiences a three-dimensional feeling through the tonal variation and the perspective principle. Another characteristic of the visual art is its static and coagulative nature, which can form the aesthetic object solidified on certain time fracture surface. The static visual art can generate a dynamic effect.

Picture source:https:http://www.paulpanhuysen.nl/ 26 What is Experimental Music?

Generally speaking, music, being romantic, classic or non-academic folk music, expresses certain emotion or belief. In other words, the composer’s “self” is present. However, the experimental music pursues a highly pure listening experience without carrying any meaning. For example, the sound of all kinds of animals in forests; the “program logic sound” made by computer musicians; or even sound records in certain section of Amsterdam— all these sounds are in essence the supreme worship f sounds to experimental musicians. “Let sound speaks for itself”—this is the greatest difference between experimental music and all traditional music.

Picture source:https:http://www.paulpanhuysen.nl/ 27 Analysis of characteristics of the visual art industrial activities and their requirements of design

1. Enhancement of learning and re-education: Generally speaking, 2. Ever-changing working groups: During the creation process, visual art industrial activities have striking characteristics, that is, if long-term members in a research group are the same, new thinking creations and performance behaviors are the majority, thinking will not be generated. Therefore, clear organization while production and manufacturing are few. Meanwhile, the styles and flexible working groups are striking characteristics of thirst of the visual art industries for talents and the swift update of creative industries. The new flexible and changing working groups knowledge have directly prompted learning and re-education to have posed new challenges for design and use of the visual art become indispensable behaviors of visual art industries. Therefore, industrial space in terms of its flexible changes, organization and some small-scale libraries and information centers which can undertermined space design. Thus, design should be targeted immediately taking in knowledge are extremely necessary. at different residential and working spaces designed by long-stay and short-stay artists.

28 3. Work and entertainment: Professionals in the visual art industry 4. Polarized development of communication styles: With the have a flexible working schedule. They might work intensely for a development of modern communication equipment and network, period of time or have nothing to do for a period of time. Quality communication between individuals in the visual art industrial of life is an issue of great concern. Despite of a tense working space has shown a polarized trend. One trend is to achieve swift schedule, they will still remain a favorable living status. In the exchange and cycle of information through communication tools building, there is a green space for artists to relax, through which and computer network; the other trend is the relatively original their quality of life and creation efficiency can be greatly improved. face-to-face communication, which can meet people’s emotional communication demands and are irreplaceable by digital communication. Besides, the visual art industrial space should be exquisitely designed to strike a balance between techniques and emotions and stimulate infinite creativity. Therefore, public exchange space and multimedia equipment are important elements. 29 5. Work style of combining independent thinking and collaboration: 6. High-intensive brainwork and fierce competition: Creation Creative work contains two seemingly contradictory work belongs to high-intensive brainwork. Meanwhile, gathering of styles, because it emphasizes on both individual talents and creative talents and smooth flow of information channels have led collaboration. New requirements of space design should be put to fierce competition among professionals. The indoor and outdoor forward to satisfy both group collaboration and individual creation. space environment and landscape of visual artistic industries must To the end, the building should provide working spaces of different be able to relieve creators’ weariness and work burden. sizes.

30 Chapter 5 Analysis of Current Situation & Concepts

31 Problems of Het Apollohuis

1.No insolations in the 2.Staircases dilapidated 3.Single glazed windows, walls and roof and unsteady. cold in winter and hot in summer.

4.Not enough space for documents. 5.Cracks on the walls.

6. Lack of money to restart exhibitions. 7. Losing the connection with Eindhoven.

32 Architecture Aspects

Typology : The windows on the 2nd floor are larger than the ones on the ground floor and 1st floor. This is because Het Apollohuis was a former cigar factory. The special production process led to this typology.

33 Production Process A- Basement-Storage

B- Third level-Stripping department

C- Second level-Galley

D- First level- Sorting,banding,packing department

E- Banders-Placing lebel bands

F- Selectors-Inspecting and sorting cigars

G- Coffee seller

H- Reader

Tobacco transporting Sorting and marking Storagewetting Stripping and grading

Sorting Banding,packing,Shipping,Storage Filling,Binding,Compressing,wrapping 34 Analysis of Southern Elevation

Southern facade has a symetrical relationship Vertical and horizontal trends

Columns rhythm Windows rhythm 35 1. Add profitable programmes inside the building to help Het Apollohuis self- support. (Apartments Concepts and lofts rental fees, tickets of exhibitions, workshops rental fees, selling books ,CDs etc).

2. Enhance the connection with the public and Eindhoven (Invite citizens to spend leisure time here, free entrance fee for students, tourism for people who are interested in visual art and experimental music)

3. Keep the tradition of helping young designers to start careers and gain reputation.

4. For artists, art is a kind of a life-style, a method for understanding and expressing their feelings and ideas about everyday life. The existence of the artist run spaces means the survival of art that is "laboratories" producing the art of the future.

5. By renovating Het Apollohuis, it is supposed to attract public attention again and invite people to visit the exhibition and experience the lifestyles of artists at the same time.

Programmes Exhibition space Loft for short stay artists Apartments for long stay artists Owner's apartment Library & archive Reading room Workshops Office for artists Multi-media & meeting room Roof top gardens

36 Relationships with Eindhoven

The new relationship between art and life, individual ideals and real economy represented by Het Apollohuis has prompted people to reinterpret buildings and lifestyles, and triggered their longing for creative culture and economy. Due to externality and opening nature of re-design, the building will become an ideal ground for the ordinary people to Het Apollohuis experience art and get close to fashion. Many tourists even regard here as an important part of their visit to Eindhoven.

Het Apollohuis & several other art zones in Eindhoven

37 Activities and Potential Users of Het Apollohuis

38 Chapter 6 Attitudes Essay

39 In the attitude essay, Camilo Boito was mainly studied by comparing survival of historical buildings. him with John Ruskin and Viollet-le Duc. The importance of architectural heritages lies in their reflection of The essential difference between Theories of John Ruskin and the historical situations, customs and cultures of different eras. Viollet-le-Duc is their understanding towards the issue of authenticity They are historical and era symbols. Being weathered, they have of architectural heritage protection. Viollet-le-Duc thought that developed a deeper meaning. During the protection and restoration architectural heritages are important because of their historical process, how to maintain the authenticity of architectural heritages value as historical objects. People should understand them and without damaging and faking has become an important issue analyze them according to the history. “Stylistic Restoration” for the restoration of architectural relics. At present, the principle based on artistic and aesthetic value reflects modern people’s of “authenticity” is still the primary principle for the protection of objective and complete understanding of the history. On the historical relics worldwide. To put it simply, the principle means contrary, Ruskin thought that architectural heritages have existed “reality,” “originality” and “initial state.” However, due to differences for several decades, and that their historical traces contribute to of environments, cultures and other factors, different countries and their profoundness, connotation and aesthetic characteristics. John regions have a different understanding of “authenticity.” As a result, Ruskin believed that the best protection for historical buildings was there are no countries whose vocabulary could precisely convey the not to intervene, but let buildings decay in the baptism of nature connotation of “authenticity.” It is emphasized that the protection of and time. We can’t help but think of Darwin’s natural selection. historical relics should be in line with the principle of “authenticity.” Under natural selection, the fittest survive. Our living conditions are In other words, it is necessary to take the authenticity of materials, ever-changing. If the variation of a species adapts to the changing styles, structural systems, environments and traditional techniques environment, it will win in the struggle for survival and develop. If the into consideration. variation of a species doesn’t adapt to the living condition at that time, it will decay or perish. Although there is no variation of species Camillo Boito, found that there are many limits to protect in buildings, every part of the building is “competing” with each architectural heritages with only one theory and that the best other. Finally, those parts left are the most essential and strongest outcomes could not be achieved. Finally, he perfectly combined value. Thinking in this way, John Ruskin’s theory also becomes two protection theories to seek a new definition for the principle vivid. At the same time, both Viollet-le-Duc and Camillo Boito relied of “authenticity” for architectural heritage protection, which laid on their own judgment to decide on the most suitable value for the a solid foundation for the diversification of architectural heritage 40 protection in the whole world. Camillo Boito first thought that In addition, when their theories were associated with contemporary archaeology restoration allows the existence of intervention, but conservation, Viollet-le-Duc believed that the best way to preserve it should be adopted under the prerequisite that all the other a building was to give it functions. In order to achieve the unity of protection measures are of no help. This calls for value judgment style simultaneously, he argued that repairing architects should of architectural heritages before the stylistic restoration, namely to stand on the position of ancients to reflect and imagine how ancient find out which parts are calling stylistic restoration and how far the architects would solve such problems if they came to modern ages. intervention should go. After the adoption of stylistic restoration, On the contrary, John Ruskin said “It is impossible, as impossible the newly-added parts should be able to be told apart from the as to raise the dead, to restore anything that has ever been great authentic parts. Besides, records should be made in the form of or beautiful in architecture… Do not let us talk then of restoration. photos and texts. Camillo Boito also thought that historical traces The thing is a Lie from beginning to end...Take proper care of your of architectural heritages are ceaseless, and that new historical monuments, and you will not need to restore them.”. Besides, activities will definitely lead to the formation of new imprints. The Camillo Boito held the view that if an ancient architect was asked protection of architectural heritages should adopt them as a part of to adapt to the situations and problems of modern society, the final protection. result would be neither ancient nor modern. This would discount the value of historical buildings. So his intervention techniques were closer to the context of present society. On the one hand, John Ruskin Viollet-le-Duc

the certain knowledge interventions with the absence of history data require using different of the original form is missing, then a different character characters and styles from original buildings, i.e., contemporary Accept or style between intervention old and new should when be realized. What’s styles suitable for the buildings. On the other hand, even if a building necessary more, the new forms should not compete with the artistic is restored to the original form according to historical data, it is aspect of the original building. also recommended to use contemporary materials, other than raw Maintainance Structure Recover the original architectural style materials. They not only reflect the link with times, but also protect the material authenticity of historical buildings. Although Camillo 18th 14th Boito didn’t mention adaptive reuse in any of his works, through an Archeaology restoration Picturesque restoration Architecture restoration analysis of his theories in this article, we can see that the approach that he gave about how to deal with alterations and additions to historical buildings, using classified discussion is closely related to 41 adaptive reuse. demolition, using multiple ways. This is the only way to update old industrial buildings historically and scientifically. Another fact proving the scientificity of Camillo Boito’s theory comes from the new scientific restoration theory proposed by his follower, What I can learn from the previous research is I need to do value Gustavo Giovannoni in On Restoration. He suggested that the judgement before I start to design. I need to think about what most important thing was to respect the life of a building, rather really needs to be changed. For instance the problems analyzed than simply emphasizing its form. Therefrom, a new chapter about above,they must be solved. Since Het Apollohuis has only been the reuse of modern building was started. Architects went back to extended once and the other parts remains the same as the original restoring the vitality of original building. Under his initiative, modern state, the most relevant renovation principle that can be applied architectural materials and state-of-the-art technology were used to in my design is making the new materials and new added volume reuse buildings. This is the reason why Camillo Boito’s theory can distinguishable by using contemporary techniques. always affect all historical building protection charters later, such as the Athens Charter, the Venice Charter and so on. In the historical building protection theories and practice today, adaptive reuse was a very crucial intervention strategy for the protection of cultural and historical buildings. In the process of constant development and update, all charters gradually begin to update their guidance for other types of architectural sites, for example, industrial buildings. Industrial buildings emerged when human society developed to capitalism. New architectural functions brought significant differences from other buildings. In order to adapt to large-scale production, industrial buildings present distinct features. In view of the differences from old industrial buildings in time and historical value, we should use different methods to treat the reconstruction of various old industrial buildings, assess the historical value, life value and urban context value of different old industrial buildings, explore possible reconstruction modes and even the value of 42 43 44 Chapter 7 New Designs of Het Apollohuis

45 There are three dramatic operations in the new design which are the southern elevation, the roof General and new added volume at the back. Reasons will be explained below.

Applications of materials Reasons for the use of glass for the newly increased part during transformation During the transformation of Het Apollohuis, the newly-reconstructed part directly connected with the old building tries to adopt different materials so as to highlight the authenticity and comprehensibility of the old building. Compared with the concrete, glass and bricks can be obviously told apart and recognized. To use glass to connect with the old building can do less harm to the unique texture of the old building. Besides, glass is easy to dismantle. The transparency of the glass can reduce the hiding of the original building façade, enhance the visual connection between the old space and the new space and provide adequate natural light for the lower space.

Reasons for the use of the wood structure The wood structure is the major structure of Het Apollohuis. The newly-transformed roof adopts the wood structure not only because of the unique texture of wood but also because the wood structure of the building was once a major clue of its historical development. Besides, the wood structure provides people a quiet space for imagination, which is extremely suitable for building a library.

Reasons for the use of zinc roof The roof adopts the white zinc so as to guarantee the unity of building colors so that the building will look more firm at the bottom. Zinc roof has found wide applications in Netherlands, which is in line with the local environment.

46 There are three dramatic operations in the new design which are the southern elevation, the roof General and new added volume at the back. Reasons will be explained below.

Reconstruction of the Color is also an important expression part of artworks. Color application is one of unique skills of overall building colors artists. Representation of the building style through color is similarly important. As a perception element, it can be easily sensed. In a space, people will first realize the color and then the shape. The color image of the exhibition space is made up of materials of the single color scheme so as to reflect professional characteristics and unique expression styles of artistic design.

During the transformation process of Het Apollohuis, color control is different based on characteristics of the visual art industry. Compared with color demands of general buildings, the visual art space is more in need of neutral color plans. Therefore, the color image of artists’ studios and exhibition space in Het Apollohuis is constituted of materials of the same color scheme so as to reflect professional characteristics and unique expression style of art design.

The external façade of the building basically remains the original pure white. The original color traces of the old building and the pure colorful coating are adopted to form a sharp contrast from the color and space effect within studios, and highlight the color of the colorful glass bricks at the bottom of the southern façade and the metal texture of the special-shaped object in the northern façade.

47 Birdview

48 Birdview

49 Birdview

50 Perspective

51 Perspective

52 There are three dramatic operations in the new design which are the southern elevation, the roof Designs and new added volume at the back. Reasons will be explained below.

About the newly-added The space and structure of Het Apollohuis mostly feature a rectangular plane, which looks dull and organic-shaped volume much too structured and lacks vigor. However, this seeks an integrating point for the combination of the new and old buildings, that is, to increase shape elements to invigorate the space in the regularized existing space. The newly-added organic-shaped volume is in line with symbolic images frequently appearing in the two fields, namely the visual art and the experimental music. In this way, the atmosphere of the space can be enlivened to make the building into the most unique building in the era. Besides, it represents an unrestricted, free, divergent feeling of the artistic creative thinking.

53 Perspective

54 Inspirations from Visual Art & Music Symbols

Picture source:https://s-media-cache-ak0.pinimg.com/564x/cc/43/25/cc4325c8de38b0e0afd0333b8993c5bc.jpg

Picture source:https://s-media-cache-ak0.pinimg.com/564x/c4/89/ee/c489eeaef73a0a732644e894113c643f.jpg 55 56 Volume Generation

Current State Roof Lifted up & New Volume Added Seperate

Combine Balance Horizontal Connection Added

Twist Pull & Cut After intervention state 57 Functions in Het Apollohuis

Artists Offices Cafeteria Exhibitions Storage

Library Owner Lobby Traffic Cores Workshops

58 There are three dramatic operations in the new design which are the southern elevation, the roof Designs and new added volume at the back. Reasons will be explained below.

About the transformation During the transformation of the southern bottom façade of Het Apollohuis, the original lower of the southern façade façade under the high window on the fround floor has been fully removed to form a row of doorways. Within it, a row of new facades made up of colorful glass bricks are newly added. The original brick walls are transformed into colorful glass brick walls with certain depth out of concern for materials.

Materials are an important aspect to demonstrate personality and diversity of buildings. They are also an important part of artistic expression of some artworks. Before transformation of the building, glass bricks, the new material, are a major re-shaping method. Based on the color combination of these materials and the refined constitution ratio between materials, a favorable artistic expression force can be achieved to make the old building look more vivid and attract more audiences. In this way, the purpose of reinvigorating the building can be realized.

As direct users of the visual art industrial space, artists have different requirements of the building materials compared with the ordinary owners. Materials are usually transformation of façade materials, which can reflect their own art categorical characteristics and art characteristics of artists.

59 Perspective

60 Color Pattern of the Glass Bricks

Many of Paul Panhuysen's art works have involved in this kind of color pattern research. In the new design of Het Apollohuis, the same colors and color patterns are applied in the arrangement of glass bricks.

Picture source:https:http://www.paulpanhuysen.nl/ 61 The location of the glass bricks follows the new opened doorways. The other parts of the curtain wall are made of normal glass. These new opened doorways enhance the connection between the inside and outside space because the ground floor is more open to the city. The colorful glass bricks make the originally enclosed facade more vivid and attractive. They also help to create a soecial and changable interior atmosphere.

62 There are three dramatic operations in the new design which are the southern elevation, the roof Designs and new added volume at the back. Reasons will be explained below.

The above two operations can enhance the three-dimensional impression of the original façade of Het Apollohuis. The three-dimensional impression is a visual feeling different from that of the graphic three-dimension or even four-dimensional impression. During the façade transformation, the dull planarization is transformed to quantization. To increase the new organic-shaped volume and to put the bottom façade by certain distance can destroy the two-dimensional constitution of the original building envelope, form the effect of mass intersection and reconstruct layers in terms of façade. The transformation method can enhance the expression force of the unique building shape and the ray of light and shadows. The colorful glass bricks, now visible and now invisible, greatly increase the fun and attraction of the building.

63 Perspective

64 There are three dramatic operations in the new design which are the southern elevation, the roof Designs and new added volume at the back. Reasons will be explained below.

About roof transformation Roof is an important constitution element of the external shape. Its form influences the overall effect.

During the transformation process of the building, the attic below the original top roof is used for storage. It is hard for people to walk upright in it. According to the new transformation plan, the top floor is transformed into the library space. The original roof must be raised so as to meet the requirement of lighting.

The segmentation of the new roof is based on the rhythm of columns on the original façade. The middle part in the south façade is also designed with windows so as to emphasize on the original crosswise trend of the building façade. In order to guarantee the top floor lighting, the northern part of the roof is fully replaced by the glass material. This is for the purpose of balancing the empty and full percentage of the northern façade.

The overall shape of the roof still remains the same. This is because the roof of residential buildings near Het Apollohuis is shown as following pictures. To retain the original roof shape can facilitate the integration of newly-transformed building into the surrounding context.

65 Perspective

66 Why Pitched Roof?

In the new design, pitched roof is still applied. All the residential buildings around Het Apollohuis are built with this kind of roof. In order to enable the new Het Apollohuis to be in harmony with the context, the same roof styles are used.

67 Division of the New Roof

New division

Old column rhythm

The division of the new roof follows the existing column rhythm

68 Sstructure

69 70 Master Plan

71 Small Material entrance Exhibition Exhibition workshop Side entrance

Toilet Public resting Kitchen space Big Exhibition Exhibition Hall workshop Reception Storage room

Side entrance Main entrance Material entrance

Ground Floor 72 Storage Storage Storage

Basement 1:200 73 Bath

Bedroom Loft Exhibition

Kitchen Hall

Bath

Exhibition

Living room Toilet Bedroom

Storage

1st Floor 1:200 74 Bath

Bedroom Loft Resting space Cafeteria

Cafeteria

Bedroom Kitchen

Living room

Exhibition Bath

Toilet Bedroom Storage

2nd Floor 1:200 75 Office

Bird Roof top experiment space

Meeting room & Library Reading space Multi-mdeia room

Toilet

Storage

3rd Floor 1:200 76 Eastern Elevation 1:200

77 Northern Elevation 1:200

78 Southern Elevation 1:200

79 Western Elevation 1:200

80 Sections

C B A

D D'

E E'

F F'

C' B' A'

81 Section A-A' 1:200

82 Section B-B' 1:200

83 Section C-C' 1:200

84 Section D-D' 1:200

85 Section E-E' 1:200

86 Section F-F' 1:200

87 Green Space

Green Space on the Roof

Green Space in the Doorways 88 Circulations in Het Apollohuis

Short Stay Artists Public

Long Stay Artists Owner

89 Dynamic & Static Space in Het Apollohuis

In order to make good use of this building, the dynamic space and stacit space are seperated.

Dynamic Space Semi-dynamic Space Static Space

90 Interior Impressions 15 14 16

12

17 13

11 10 9 8 7

4 3 6 5 2

1

91 92 Interior Impression 1 93 Interior Impression 2 94 Interior Impression 3 95 Interior Impression 4 96 Interior Impression 5 97 Interior Impression 6 98 Interior Impression 7 99 Interior Impression 8 100 Interior Impression 9 101 Interior Impression 10 102 Interior Impression 11 103 Interior Impression 12 104 Interior Impression 13 105 Interior Impression 14 106 Interior Impression 15 107 Interior Impression 16 108 Interior Impression 17 Chapter 8 Technical Drawings

109 Floor Plans

Ground Floor 1:200 110 Basement 1:200 111 1st Floor 1:200 112 2nd Floor 1:200 113 3rd Floor 1:200 114 Details

Detail 2

Detail 1

Detail 1 115 Detail 2 116 Detail 3

Detail 4

Detail 3 117 Detail 4 118 Window Detail

Window Detail 119 120 Reference

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Boito, C. (2008). Restoration in Architecture:First Dialogue. In Unknown, Future Anterior (pp. 68- 83). University of Minnesota Press.

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Cleempoel, B. P. (2012). Adaptive Resue as A Strategy towards Conservation of Cultural Heritage: A Survey of 19th and 20th Century Theories. Ie International Conference 2012 Reinventing Architecture and Interiors: the past, the present and the future. PHL University College & Hasselt University.

Giannattasio, C. (n.d.). Le opere di Camillo Boito. Retrieved 11 5, 2015, from Camillo BOITO 1836-1914 - I blog di Unica: http://people.unica.it/caterinagiannattasio/files/2014/10/07b.C.- Boito_Opere.pdf

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122 Jokilehto, J. (1999). A History of Architectural Conservation. In J. Jokilehto. KALČIĆ, H. (2014, 9 19). Eugène Emmanuel Viollet-le-Duc and Monument Protection: A Case Study. Retrieved 11 22, 2015, from Eugène Emmanuel Viollet-le-Duc and monument protection ..: http://urbani-izziv.uirs.si/Portals/uizziv/papers/urbani-izziv-en-2014-25-02-005.pdf

Niglto, O. (2013, 5 23). John Ruskin The Conservation of the Cultural Heritage. Retrieved 11 19, 2015, from John Ruskin: The Conservation of the Cultural Heritage.: http://repository.kulib.kyoto-u. ac.jp/dspace/bitstream/2433/174031/1/2013_05_23_Olimpia_Niglio.pdf

Ruskin, J. (1989). The Seven Lamps of Architecture. In J. Ruskin, Lamp of Memory (Vol. 6, pp. 194-197). Dover Publications,Inc.New York.

Sandro Franchini, S. P. (n.d.). I Palazzi Dell’Istituto Veneto. Istituto Veneto di Scienze Lettere ed Arti.

Serranò, S. (n.d.). IL RESTAURO “FILOLOGICO”. Retrieved 11 19, 2015, from IL RESTAURO “FILOLOGICO”: https://www.unirc.it/documentazione/materiale_didattico/597_2010_253_8834. pdf

Seung-jin Chung, C.-s. K. (2010, 6). The Development of Attitudes to Historic Conservation From Eurocentrism to Cultural Diversity. ARCHITECTURAL RESEARCH, pp. 25-32.

The Mornern Cult of Monuments:Its Essence and Its Developments. (n.d.). Retrieved 11 16, 2015, from The Modern Cult of Monuments - iSites: http://isites.harvard.edu/fs/docs/icb.topic822683. files/Riegl_The%20Modern%20Cult%20of%20Monuments_sm.pdf

123 Viollet-Le-Duc, Eugene-Emmanuel (1990). The Architectural Theory of Viollet-Le-Duc: Readings and Commentary. MIT Press.

董征 . (2013). 合理确定历史建筑保护与修复措施的方法──层次分析法与里格尔历史建筑价值 论相结合的确定方法 . 城市时代，协同规划 ——2013 中国城市规划年会论文集（11- 文化遗产 保护与城市更新）. 青岛市 : 同济大学建筑与城市规划学院 .

李胜 . (2015, 1 11). 维欧勒 · 勒 · 杜克的理性思想及其影响 . 西部人居环境学刊 , pp. 61-65.

李文鹏 . (2014). 基于历史文物建筑保护 “ 原真性 ” 原则的成都市金牛宾馆张大千故居修缮研究 . pp. 9-19，22-24.

李映涛马志韬 . (2011,2). 城市建筑体的历史价值和时间性要素保护 . 中华文化论坛 , 页 143- 146.

吕卓民 , 王 . (2012, 5). 回到原点的追问 —— 试论人类文化遗产保护思想的发展演变 . 唐都学刊 , Tangdu Journal, , pp. 90-95.

宋义兵 . (2008). 历史建筑再利用中的地域主义倾向 . pp. 3-19.

孙智 . (2009). 旧工业建筑的限制性更新 —— 以成都无线电一厂概念性改造设计为例 . pp. 17- 19.

杨竹 . (2012). 历史建筑保护与修复研究 —— 以潼南双江杨氏宅院保护修复为例 . pp. 2-6.

124 http://www.paulpanhuysen.nl/ https://nl.pinterest.com/ Websites http://www.eindhoven.nl/en.htm http://www.archlighting.com/projects/master-plan-eindhoven-the-netherlands_o http://abe.tudelft.nl/article/view/huang http://www.stream-project.eu/sites/default/files/Presentation_Eindhoven.pdf http://www.eindhoveninbeeld.com/foto.php?foto=13390 http://www2.luciassociation.org/eindhoven-the-netherlands.html http://www.eindhoveninbeeld.com/foto.php?foto=32227 http://www.eindhoveninbeeld.com/foto.php?foto=30677 http://www.eindhoveninbeeld.com/overzicht.php?groep2=13&subcat2=111&subcat22=184 https://en.wikipedia.org/wiki/Het_Apollohuis http://www.hallo040.nl/opinie/%E2%80%98eindhoven-weet-niet-wat-het-wil%E2%80%99/ http://v2.nl/archive/organizations/het-apollohuis http://www.artpool.hu/harmas/apollohuis_en.html http://www.gonzocircus.com/paul-panhuysen-1934-2015/ http://www.artpool.hu/harmas/panhuysen/apollohuis3_en.html https://eindhoven.city-map.nl/01010001/artists http://drimble.nl/bedrijf/eindhoven/21664773/meesy-visual-arts.html http://www.brainport.nl/en/over-brainport/domeinen https://books.google.nl/books?id=PtNm6UNWUBQC&pg=PT49&lpg=PT49&dq=artists+region s+in+Eindhoven&source=bl&ots=5OxcPPlnMu&sig=OzmxZSITlBY4bkEpRntLPhPYVeE&hl=zh- CN&sa=X&ved=0ahUKEwiKoP7Oyp_LAhVEPBQKHRQXB40Q6AEIUzAI#v=onepage&q=artists%20 regions%20in%20Eindhoven&f=false http://www.creatieveindustrieeindhoven.nl/dl/Creative-Industries-Eindhoven_Tools-and-activities.

125 pdf http://jorickboddeke.nl/brainport-avenue-2020-2040-2 http://uribenari.blogspot.nl/2010/07/instatements-eindhoven-2010.html http://www.archiprix.nl/national/index.php?project=3266

126 "Future art history will be written differently, taking into account the contribution made by the so-called unofficial art world." /Kitty Zijlmans/

Cite from : Judit Bodor: A "third type art space" from the Netherlands. 127 For 21 years Het Apollohuis, as a "permanent space of situations", created possibilities for "art to Conclusion happen". Following Paul’s ideas, it is very important to open more artist run spaces besides museums and galleries because of the difference in ideas about art held by artists than by collectors or art historians. Values of trade and commerce mean that the artists´ names are of principal importance to collectors, while the values and context of previous history occupy the attention of art historians. Galleries and museums thus exhibit artworks based on these values. For artists, however, art is a kind of a life-style, a method for understanding and expressing their feelings and ideas about everyday life. The existence of the artist run spaces means the survival of art, of "laboratories" producing the art of the future. The idea to transform former factory buildings for exhibition space is not so rare but using them for apartment/rent/studio and exhibition space is unique. The half private-half public context give the artists the possibilities to deal with art not as ART but as the organic part of the everyday life. Het Apollohuis became and will still be a platform for presenting the visible results of the permanent work and discourse about art and life. When people are visiting the new Het Apollohuis, they are not only experiencing visual art and experimental music, but also feeling and communicating with the lifestyle of artists. As an alternative space the main aim was to encourage the dissemination of information between artists and the audience, to present those projects and artworks that carried important progressive Special Thanks to: ideas in contemporary art. The artist’s ‘name’ is not a criteria during the selection process and prof.dr.ir. Jos Bosman so, besides new developments in well-known artists’ work, the space gains renown for providing Ir. Marcel Musch opportunity for talented young artists to show their works for the first time. Geert Das In this way, Het Apollohuis could be brought back to life again and the spirit of Paul and helene will Helene Panhuysen be continued.

128 129 130 HET APOLLOHUIS

TONGELRESESTRAAT 81 EINDHOVEN

5613DB HOLLAND

TEL.040-2440390 [email protected]

131