pantheon// 2015 | in development

1pantheon//quarterly publication of d.b.s.g. stylos / issue 3 / volume 20

in develop ntme

STYLOS

CHAIRMAN’S NOTENIELS FRANSSEN + 122

PAST ACTIVITIES24H, EJC, EVENECO, EXCO, FRUITS OF

STUDY, OUCIE, MASTERCLASS, MEDIACO

EEN KWESTIE VAN STIJL. CHEPOS CHASTITY VERHOOFSTAD

HUMANS OF BK CITYVITA TEUNISSEN & NICO SCHOUTEN

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COPING WITH INFORMALITIESJOOST DE BONT

PRACTICAL EXPERIENCELAURA STRÄHLE

GANDO CAMPUS. CASE STUDY

HUGO KOOYMANS

20K HOUSE. CASE STUDY

JUDITH THIJM

NEW ARTIST RESIDENCY. CASE STUDY

VITA TEUNISSEN

BAMBÚ SOCIAL. CASE STUDY

MAX VERHOEVEN

@ARCHITECTURE IN DEVELOPMENTMAX VERHOEVEN

DELFT GLOBAL IMPACT. INTERVIEW WITH DICK VAN GAMEREN

ANKE DÄHLMANN & MAX VERHOEVEN

BUILDING FOR THE PEOPLE. INFOGRAPHIC. VITA THEUNISSEN

EXCHANGE SPECIAL. MINOR IE&D

HUGO KOOYMANS

GET INSPIRED

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colophonvolume 20, issue 3, June 20152.300 printsStylos members and friends of the Stylos Foundation receive the pantheon//

editorial officeBG. midden.110Julianalaan 132-1342628 BL, [email protected]

QQ (qualitate qua)Veerle Alkemade

editorsTim BruinesMaya van der LandeNico SchoutenVita TeunissenJudith TijmHugo Kooymans

lay outMax Verhoeven & Anne de Zeeuw

acquisitionAlbert Burgers

to this issue contributedArchitecture in Development, Arian Lehner, Joost de Bont, Rob Breed, Anke Dählmann, Chang Fang, Dick van Gameren, David Kooymans, Umit Sheombarsing, Laura Strähle.

advertisements17 | De Swart18 | Topdesk (advertorial)19 | Vectorworks24 | MHB

publisherDe Swart, ‘s-Gravenhage

coverKarlijn Scholtens

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

board 121 D.B.S.G. Styloschairman: Niels Franssensecretary: Niels Boelenstreasurer: Nanette Limeducation bachelor: Nico Schouteneducation master: Anne van der Meulenexternal affairs: Veerle Alkemadeevents and initiatives: Hanna Moonen

contactBG. midden 110Julianalaan 132-1342628 BL Delft

[email protected](+31) 15 2783697www.stylos.nl

quarterly edition of the study association Stylosfaculty of Architecture, TU Delft

IN DEVELOPMENT

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Architecture in developing countries is a hot issue. All around the world the most beautiful community buildings, houses and schools are popping up by a new generation of architects who are crossing the borders of their country’s traditions and educational paradigms. One of them is Anne Feenstra, who has been paving the way for architecture created for “the other 99%”. As you might have seen, earlier this month we published a pantheon// mini, that featured an inspiring story about Feenstra’s way of working together with local communities in, amongst others, Afghanistan and India, in which he pays much attention to traditions, cultural values and a way of construction that has a close relationship to nature and locality.

For this issue, we worked together with Architecture in Development (AiD), an online platform initiated to re-connect sustainable development to architecture. AiD works with user-generated knowledge to create an overview of projects related to community based architecture from all over the world. This issue of pantheon// features four of these case studies written by editors of the magazine. You can read about the vision and future plans of the founders of Architecture in Development as well in a personal interview.

Of course, there’s more. For example the article ‘Coping with Informalities’ by guest writer Joost de Bont offers some surprising insights about the history of slumming in Latin America. In another article, ‘Practical Experience’, guest writer Laura Strähle advocates the integration of more hands-on involvement in the Western architectural education. Anke Dählmann and Dick van Gameren give us insight in the goal of the new TU Delft’s organization, ‘Delft Global Initiative’ (DGI). The DGI supports students’ research and has the aim to contribute to sustainable solutions for global societal challenges.

Among the pantheon// regulars will be the Exchange Student, a special edition about the TU Delft minor ‘International Entrepreneurship & Development’, and an infographic with the focus on environmental differences in architecture. The ‘Get Inspired’ is full of events, books and movies concerning a more social and environmental conscious type of architecture, as well as a list of architects to pay attention to. If you’re still hungry for more after you have finished reading this pantheon//, look forward to our new pantheon// minis. These will be spread regularly through the faculty, featuring exclusive, interesting articles.//

VEERLE ALKEMADE QQ‘‘There is always room for improvement. Keep developing.’’

TIM BRUINES EDITOR“Every development needs a design.”

ALBERT BURGERS ACQUISITION “The difference between sustainability and durability is one that determines who you’re building for.”

MAYA VAN DER LANDE EDITOR“Think small. Development can just be around the corner.”

HUGO KOOYMANS EDITOR“Architecture can be more than what the eye meets, it can also positively affect a community.’’

NICO SCHOUTEN EDITOR“Development is like a polaroid. Seize the right moment and be patient. Don’t shake too hard.”

VITA TEUNISSEN CHAIRMAN“Design for the people, with the people, in a people-kind of way.“

JUDITH TIJM EDITOR “Western architects could learn a lot by looking at the way of building in other cultures, exploring new materials, new techniques and perhaps new definitions of space…”

MAX VERHOEVEN LAY OUT “Nothing lasts.”

ANNE DE ZEEUW LAY OUT“The challenges you face during a process of change and development are what makes it interesting. Never a dull moment when reaching for the best fix.’’

EDITORIAL

COMMITTEE2014/2015

membership Stylos€10,- per yearaccount number 296475

Stylos FoundationThe pantheon// is funded by the Stylos Foundation.

The Stylos Foundation fulfills a flywheel function to stimulate student initiatives at the Faculty of Architecture and the Built Enivronment at the Delft University of Technology. The board of the Stylos Foundation offers financial and substantive support to these projects.

As a friend of the Stylos Foundation you will be informed on these projects by receiving the B-nieuws every two weeks and four publications of the pantheon//. We ask a donation of €90,- per year as a company and €45,- per year as an individual (recently graduated friends of the Foundation will pay €10,- the first two years).

account number 1673413

disclaimerAll photos are (c) the property of their respective owners. We are a non-profit organisation and we thank you for the use of these pictures.

Illustratie: Laura Maria Hamstrawww.lauramariahamstra.com

membership Stylos€10,- per yearaccount number 296475

Stylos FoundationThe pantheon// is funded by the Stylos Foundation.

The Stylos Foundation fulfills a flywheel function to stimulate student initiatives at the Faculty of Architecture and the Built Enivronment at the Delft University of Technology. The board of the Stylos Foundation offers financial and substantive support to these projects.

As a friend of the Stylos Foundation you will be informed on these projects by receiving the B-nieuws every two weeks and four publications of the pantheon//. We ask a donation of €90,- per year as a company and €45,- per year as an individual (recently graduated friends of the Foundation will pay €10,- the first two years).

account number 1673413

disclaimerAll photos are (c) the property of their respective owners. We are a non-profit organisation and we thank you for the use of these pictures.

Illustratie: Karlijn Scholtenskarlijnscholtens.wordpress.com

We live in the urban era; this is already stated too often. What is not highlighted as much is the significance of slumming. This is an issue that could not be overestimated in the history of modern urbanization. It becomes clear when we see that about one third of the people in cities live in slums. In the future this becomes even more significant considering slums will constitute the biggest part of urban growth. For 2050 it has been predicted that 3 out of the 7 billion people whom will be living in cities will live in self built neighbourhoods.1 That is what we talk about if we talk about slumming. Slumming is a phenomenon of people building their own houses mostly outside the control of any state or law. It is generally called ‘informal urbanization’, for it is a form of urban development that acts outside the formal frameworks. These informally built settlements go by a lot of different names, some of which may sound familiar: favelas, barrios, barriadas, bidonvilles, piratas, ‘shanty towns’ and ‘townships’ to name just a few. Informal urbanization is seemingly the inevitable by-product of the production of space and cities all over the world. Just to be clear here, this is not the kind of article that will provide you with a clear-cut truth and might even leave you with more questions than answers. But the world is complicated and ambiguous; the issue of informal urbanization maybe even more so. This is not a ‘crash course’ into fully understanding it. Instead, it provides some insights on the backgrounds of the phenomenon and some examples of how it has been dealt with throughout the last decades.

This article is about Latin America for different reasons. The first one is perhaps the most rational. The continent has been a front-runner in terms of urbanization in the Global South (the so-called developing world on the southern hemisphere). With about four-fifth of the population living in cities, we can see that it is extremely urbanized compared to Asia and Africa where the urban population accounts for less than half of the people. To a great extent this is the result of extreme urbanization waves taking place in all of Latin America from the middle of the twentieth century onwards. As said, informal city development has always gone hand in hand with

COPING WITH

INFORMALITIES

urbanization. As a result we could say that Latin America has experienced already some of the informal urbanization issues that Asian and African countries still have to face.

The less rational explanation for writing about this continent is simply that it is the one in the Global South I know the best. Since I have visited and studied various informal settlements in this part of the world, most

notably in Venezuela and Colombia. The poetic reason to choose this continent is given by French psychoanalyst and philosopher Félix Guattari: “Latin America is Africa, Asia and Europe at the same time”. 2

As on the other continents in the Global South, informal

urbanization is a direct result of formal systems (read: governments and later private developers) being incapable of dealing with the rapid growth of the urban population. Instead, all around Latin America governments were “building housing estates that were tokenistic compared to the scale of the proliferating slums”.3 However, the main issue of informally built settlements is not so much just

The denial of slums did not only mean that the rough living conditions within these neighbourhoods were kept under the radar. The existence of these areas was, up until far in the 20th century, invisible on official city maps.

A SHORT HISTORY OF SLUMMING IN LATIN AMERICA

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AUTHOR: JOOST DE BONTILLUSTRATION: KARLIJN SCHOLTENS

INFORMALITIES the fact that they exist. It is just as much about how they are seen and dealt with. Landscape architect Christian Werthmann did research on various non-formal cities in Latin America and implementation of infrastructure in these emerging cities at the Harvard Graduate School of Design. He came up with the five stages in which societies tend to deal with informal development, namely: denial, eradication, tolerance (admiration), improvement and anticipation.4 Unfortunately these are not purely historical chronologic phases, in the sense that in some places informally built settlements are maybe tolerated, while elsewhere they are still fully denied. The denial of slums did not only mean that the rough living conditions within these neighbourhoods were kept under the radar. The existence of these areas was, up until far in the 20th century, invisible on official city maps. This was not only a result of the inability to map out these impassable and densely constructed networks, but as much a political choice. If you look for instance at maps of Carácas, Venezuela from a few decades ago, barrios (slums) were simply mapped as zonas verdes (green zones). This phase is not fully passed yet, which becomes apparent considering that even today slums are “often omitted from official maps and documents and frequently hidden by local authorities by colorful walls and fences”. 5 For that reason informal settlements are often referred to as the ‘invisible city’ or even the ‘denied city’.6 Following from the attempt to make these parts of the city invisible, most governments decided they should get rid of the houses. Result: slum clearance. The phase of eradication is possibly even worse than that of denial since it not only destroys physical structures, but also the social and cultural structures embedded in them. The examples of slum evictions are endless, from well-planned and official ones to entire favelas that are burned down in for instance São Paulo seemingly by accident, but often planned by criminal groups and paid by real estate developers.7 We could also think of Torre de David in Carácas, a high squatted tower of 190 meters that became famous through various (research) publications and appearances in TV shows (e.g. Homeland). In 2014 the eviction by the government of the thousands of inhabitants that built up their own house eventually took place.8

But it is not all doom and gloom. In the last decades some intervention strategies have been developed that deal with the informally built city in a different way. These visions emerged from the phase that Werthmann calls tolerance or even admiration. Most definitely one of the first steps made within this phase must be the work done by British architect John Turner on the barriadas of Lima (Peru) in the 1960s. In his book Radical Cities, critic Justin McGuirk revisits the work of Turner and explains its importance, namely the revelation

of this phenomenon we call ‘informal urbanization’. By describing the case of Lima, where about 70 percent of the people live in self-built structures and ”were managing to house themselves”, Turner took a critical position.9 He even went further, almost romanticizing the idea of the self-housing, when he stated that “‘the barriadas are, undoubtedly, the most effective solution yet offered

to the problem of urbanization in Peru”.10 As a provocation this could be a productive point of view but if we take this too far we might forget that informally built settlements offer far from perfect living conditions. Many times running water, sewerage,

(safe) access to electricity, (high quality) public space and amenities and stable housing conditions are lacking. McGuirk’s admiration even continues in the temporary discourse on slumming. Alfredo Brillembourg, co-founder of Urban-Think Tank, described the slums that he worked in as a green sustainable ‘utopia’: ”the car-free city, the dream of every architect”. 11

This being said; it has to be admitted that these provocateurs freed the way for policy makers, planners and architects to think about and come up with plans to actually improve the conditions in slums. What follows is a small anthology of Latin American slum upgrading

CONTINUES ON NEXT PAGE

‘‘The concept was simple: “half a good house is better than half a house”. By providing a framework for extension the informal is not entirely formalized but supplied with a steady basis..’’

Roof basketball court constructed in a barrio in Carácas as part of

the Espacio de Paz project, designed by Pico Estudio

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JOOST DE BONT

practices. Entering the phase of improvement, plans come in different forms and scales. From artists repainting an entire favela to the development of an entire public infrastructure in the form of cable car systems. The latter turned out to be a disruptive approach to implement public transport into favelas, barrios and piratas on the hillsides of the cities of Rio de Janeiro, Carácas and Medellín (Colombia). The project in Medellín is especially interesting since it is combined with building public amenities such as libraries and schools in the middle of these precarious neigbourhoods.12 Some of these buildings even became photogenic icons of the city, like the Biblioteca España in the Santo Domingo neighborhood, designed by el Equipo de Mazzanti. What makes all this so impressive is that the improvement projects are all part of a long term and city-wide strategy with a political mandate that overcomes the terms of just one or two mayors. Something that is (unfortunately) still very rare in most countries dealing with informal urbanization. These top-down projects require immense public support and are (obviously) very capital intensive. They are not the only way to improve the built environment in slums. Also designed by el Equipo de Mazzanti is a low-cost roof structure for a community in the Cazucá neighborhood in the periphery of Bogotá. The canopy, even though being ‘just a roof’, is now used in all kinds of ways, from church to sports centre and from dance floor to cultural hotspot.13 In Carácas a wide range of projects was initiated under the name Espacios de Paz (Spaces of Peace).14 Local inhabitants of barrios developed participatory building projects together with a group of (international) architects and students. These did not only physically transform the built environment, but also changed the social cohesion for the better. By making use of available “self-building techniques”, places mostly seen as conflictive urban territories were turned into useful public spaces. You could think of “basketball courts located on a rooftop, spaces for learning and debating, playgrounds, amphitheatres, viewpoints, and so on”. 15

The final and last phase is that of anticipation, which brings us back to John Turner. His published writings and studies had an impact when in the late 1960s an experimental housing competition named PREVI was launched to house people from the barriadas in Lima. The result was neighborhood of 500 houses designed by the likes of James Stirling, Aldo van Eyck, the Metabolists, Charles Correa, Christopher Alexander and Candilis Josic Woods.16 Something that you could consider an ‘all-starchitects’ team. What is specifically striking about the dwellings in this PREVI neighborhood is that they were meant to be extended over time, just like the houses in informal settlements. As a result the buildings are nowadays unrecognizable as design works of the original architects, they were extended and modified to fit the demands of its inhabitants. This turned out to be very successful; the residents that stayed there from the beginning onwards consider themselves very lucky to live

Sources1. Werthmann, C. (2011) Metropolis Nonformal Towards a Global

Design Exchange [lecture slides]. Retrieved from: http://www.eafit.edu.co/minisitios/ambientesurbanos/Documents/6_Chris-tianWerthman.pdf

2. Guattari, F. and Rolnik, S. (2006) Micropolítica. Cartografías del deseo. Madrid: Traficantes de Sueños, p. 346.

3. McGuirk, J. (2014) Radical Cities. Across Latin America in Search of a New Architecture. London: Verso, p. 51.

4. Werthmann, C. (2011) Metropolis Nonformal Towards a Global Design Exchange [lecture slides. Retrieved from http://www.eafit.edu.co/minisitios/ambientesurbanos/Documents/6_Chris-tianWerthman.pdf

5. Argentino, M. T. and Flores, C. (2003) Slums of the World: The face of urban poverty in the new millennium?. Nairobi: UN-HABITAT, p. 6.

6. Ibid. 7. Domingues, V. (2012) ‘Favelas e Especulação’, in: Observatório

de Favelas. Retrieved from: http://observatoriodefavelas.org.br/noticias-analises/favelas-e-especulacao/

8. Velasco, M. and de Bont, J. (2014) ‘Torre de David‘, in: Architec-ture in Development. Retrieved from: http://architectureindeve-lopment.org/project.php?id=141

9. McGuirk, J. (2014) Radical Cities. Across Latin America in Search of a New Architecture. London: Verso, p. 51.

10. Ibid., p. 52. 11. Ross, P. (2014) ‘Climate Change Solutions: Architects Look

To Slums As Models For Sustainable Living’, in: International Business Times. Retrieved from: http://www.ibtimes.com/climate-change-solutions-architects-look-slums-models-sustainable-living-1623418

12. de Bont, J. (2014) ‘Building for Change’ in: Architecture in Deve-lopment. Retrieved from: http://architectureindevelopment.org/news.php?id=76

13. Ibid. 14. García Alcaraz, T. (2015) ‘Creating Spaces for Peace, Dialogue

and Coexistence in Venezuelan Cities’, in: This Big City. Re-trieved from: http://thisbigcity.net/creating-spaces-for-peace-dialogue-and-coexistence-in-venezuelan-cities/

15. Ibid. 16. McGuirk, J. (2014) Radical Cities. Across Latin America in

Search of a New Architecture. London: Verso, p. 53. 17. Ibid., p. 56. 18. Aravena, A. (2014) ‘My architectural philosophy? Bring the com-

munity into the process’[video], in: TED. Retrieved from: https://www.ted.com/talks/alejandro_aravena_my_architectural_phi-losophy_bring_the_community_into_the_process

Images1. Drawing by Karlijn Scholtens2. Carácas. http://33.media.tumblr.com/c1ada8b59e97ef1de-

1a2f5031d113949/tumblr_inline_nihygxJSXM1scyouc.jpg

there.17 The only downside was the fact that the project was intended to create repeatable prototypes, which never actually happened. The intentions and outcomes were considered to be so diverse and too expensive to build, that repetition seemed unviable. About four decades later the intention of designed incremental housing solutions found more fertile ground in Chile. Alejandro Aravena’s office Elemental managed to design houses that could be extended by its inhabitants and be build much cheaper than regular social housing projects. The concept was simple: “half a good house is better than half a house”.18 This means that by building the half of the house, which is hard to be build by the people themselves (services such as the bathroom, kitchen and toilet), the rest of the construction could be build for a lower price by the people themselves. By providing a framework for extension, an incremental solution, the informal is not entirely formalized but supplied with a steady basis.//

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LAURA KATHARINA STRÄHLE

Have you ever worked on a construction site with one generator as the only power supply, build a wall of hand-made adobe bricks while standing on a bamboo scaffolding or mixed concrete with rubber boots on your feet? Some architecture students have and they understandably face a somewhat different situation in developing countries than they might have experienced back home. Communication is face-to-face and often complex, the local building materials and techniques sometimes differ greatly from the familiar ones and connection to electricity is never guaranteed. Actually the contextual contrast could hardly be greater – especially when comparing this ‘small adventure’ to the highly standardised construction and management processes found in the building sector of European countries. Why should European students want to experience this? Architecture Schools are aware of the need to incorporate practical experiences into the rather theoretical studies, but hands-on experiences such as working on a construction site in a developing country are rarely offered on a regular basis at European universities. Nevertheless there are some faculties that are increasingly encouraging their students to participate in so-called design-build-studios. The design-part is integrated into a one-semester studio of researching and designing, followed by another semester of detailing, project planning and preparing the work on the construction site. The build-part includes the practical experience, which means that a group of students travel to the site, literally putting their ideas into practice within a short amount of time. First, this hands-on experience is an extraordinary chance for students to use their own hands for building and understanding construction processes. Second, experience shows that the studios are a great opportunity for students to reflect upon the implementation of their own projects. Both aspects have a great impact on students’ motivation and the practical experience creates more self-confidence in making decisions. The Faculty of Architecture of the University of Technology Munich (Germany) is one of the universities that

are highly engaged in this specific field of teaching. The chair of Architectural Design & Timber Construction lead by Professor Hermann Kaufmann offers bachelor and master students the possibility to establish a link between architectural design and simple, but genuine building tasks. Professor Kaufmann justifies his motivation by saying that “for a generation in which the dimension of reality is displaced more and more by virtual aspects, the implementation of student projects is decisive for a fundamental understanding of architecture. Buildings are material objects and materials have their own laws, which in turn have a strong influence on form and architecture. For that reason, we search for means of giving students an opportunity to implement their own ideas”. All student projects designed and built by TU Munich students in cooperation with local workers have a non-profit purpose and are located in Africa. Since the introduction of the studio in 2007, two kindergartens, a school and a teacher’s building have been built in South Africa, a skills centre in Kenya, a bush hospital in Cameroon and a prototype school building in Zambia. The second construction phase of the largest structure so far has just been finished: a column-free school hall in Tanzania for about 500 children. Next to using local materials and construction methods in a sustainable way and integrating the local culture into the architectural concept, the students learn to work in groups with different backgrounds. A team of architecture students is joined by civil engineering students to reflect on topics such as thermal and acoustic comfort, material life cycles, water management and use of energy. Because of the practical component of the studio, students have to think of costs, planning of construction phases and other crucial aspects linked to the actual realization of the project. For most of the participating students, this marks the first time that their projects are judged on cost efficiency and feasibility - one crucial advantage of the design-build-studios. It encourages the students to concentrate on essentials and forgo superfluous things. As a consequence, “students learn to develop good architecture despite the environmental

“for a generation in which the dimension of reality is displaced more and more by virtual aspects, the implementation of student projects is decisive for a fundamental understanding of architecture. Buildings are material objects and materials have their own laws, which in turn have a strong influence on form and architecture. For that reason, we search for means of giving students an opportunity to implement their own ideas”.

Professor Kaufmann

PRACTICAL EXPERIENCE AND THE SUPPORT OF UNIVERSITIES


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SOURCES. Krötsch, S. (2014) Einfaches Bauen (Simple forms of construction). Detail – Review of Architecture. 12/2014.

shortcomings and lack of means” characterizing the developing countries of Africa (Krötsch, 2014: 1308). The lack of materials often enhances students’ creativity and therefore their drive for continuous innovative strategies. How these thoughts are integrated into design at TU Munich is demonstrated by the Skills Centre Nairobi (Kenya), the Prototype School in Lusaka (Zambia) and the School Hall in Kibwigwa (Tanzania). In Kenya, the indigenous bamboo grows in many forests, though it suffers from its image as ‘poor man’s material’ and is hardly used. The idea was to improve its image by using bamboo for the primary roof construction to show its structural and aesthetic qualities to the local community. The bamboo had been tested with full-size models in advance at the materials testing institute of the TU Munich for tension, compression and bending strength, as there were no reliable calculations. In the meantime, the Skills Centre operates so successful in training young people from slums as carpenters and solar experts that it has been extended twice already.

local people in Africa are proud of their school hall. Design-Build-Projects can contribute to a valuable student involvement and identification with the building itself. I was fortunate enough to take part in two Design-Build-Studios (Nairobi & Zambia) and made some of my greatest student experiences there. No matter at which stage of the whole process from design to construction I joined, the realistic approach made me think even more of other aspects that influence the design than those I had come across so far. One of them is definitely meeting the people you are designing for. We went to the slums of Nairobi, got to know the kids living there and for whom we were about to build the Skills Centre to help improving their situation. Unfortunately, the wave of enthusiasm to offer studios like this has not yet reached the Netherlands. There are studios and activities at TU Delft offering the chance to develop own project ideas, for example the Master graduation studio at Explore Lab, at Bucky Lab or at other faculties. Nonetheless, setting up your own Design-Build-

LAURA KATHARINA STRÄHLE

Impressions from Skills Centre Nairobi (Kenya). Courtesy of TU München

The Prototype School for Lusaka is another example for the use of local, sustainable materials and the creation of acceptance within the community. The school will be repeated in the whole country, if it is competitive in terms of thermal conditions and costs. The success of the school, which has been awarded several prizes, can largely be attributed to the use of the local soil for adobe bricks implemented into the load-bearing walls. The bricks are sun-dried and do not contain any other additives than the local ingredients. Involving the local community in creating the adobe bricks helped them to understand the architectural attitude that may seem non-European at first for not using concrete, steel and glass. A recently finished project, the school hall in Tanzania, still has to proof its quality in the Kibwigwa’s daily community life. However, the interpretation of the historical timber lattice-shell construction is extremely economical in terms of material use. Its aesthetic appearance has convinced the community and reached what the architecture students were striving for: that the

Studio is still an obstacle; especially the first steps require a lot of persuading to make it happen, as this is not really the standard way of doing projects at TU Delft. One possibility is to look for support outside the university first, from organizations such as Students4Sustainability or the just recently set up Delft Global. Students that are interested can take part in one of the events organized regularly to connect projects to students and vice versa or get in touch with the organizations personally. In the end, it is clear: some will have to make the first steps into this direction and then others can follow. One important advice is not to give up that quickly and keep on persuading TU Delft step by step of the necessity to support such projects in the future. The success of the projects speaks for itself and the experiences made by the students are unique. Such studios encourage an ‘out-of-the-box’ thinking which is actually highly desirable to achieve for Europe’s leading universities.//

Diébédo Francis Kéré was born in Gando, Burkina Faso, as a son of the head of the small village. He went to Berlin to study architecture at the Technical University. His dream was to give his home village a school and he decided to use his knowledge in building Gando’s first primary school. With support of the community and the funds he raised through his association ‘Schulbausteine für Gando e.V’ (Bricks for Gando) he started to build the primary school together with, and for, the local community. Being completed in 2001, the primary school is now part of a campus in Gando, which consists out of a library, teacher’s houses, a secondary school, a women’s centre and an atelier.

THE GANDO CAMPUSAfter building the primary school and the school extension, to support the growing number of students from near villages, the library was constructed. It forms a physical connection between the primary school and it’s extension. The elliptical shape of the library is distinct from the other buildings, and refers to the vernacular traditional housing in the region. The library is surrounded by eucalyptus columns to provide shadow and protection for the study area. The six teacher’s houses are located at the south area of the campus, arranged in a wide arc reminiscent of a traditional Burkinabé compound. The most sizeable building is the secondary school further north. It offers shelter from the hot and dusty eastern wind and opens to the west. The woman’s centre, which is still under construction, will be a platform for women to improve their economic and educational situation through a variety of programs. These programs offer the women possibilities to secure their own incomes. The tallest structure of the campus will be the atelier (seven meters high). It is still under construction, but will function mainly as a center for sustainable construction technologies. Traditional building methods can be examined here and innovated for new types of use.

MATERIALS AND CLIMATE DESIGNThe use of local materials and a purely passive climate design fits the character of the Gando Campus. Using local materials enables the community to maintain their buildings themselves.The traditional clay-building technique of the region was modernized and modified in order to create a clay-brick which is cheap, easy to produce, but also keeps out the warmth. In order to protect these bricks from the rain, Kéré

In collaboration with Architecture in Development we have analysed

four community based case studies from around the world on their materials, climate design and

social sustainability.

used corrugated metal roofs, hanging over the perforated ceiling of the interior space. In this way the interior space doesn’t get effected by the heat absorption of the roof and there is a maximum ventilation due to the release of hot air through the perforated brick ceiling. Even though the climate in Gando is extreme, with an average temperature of 30 degrees, the teacher’s houses designed by Kéré are also known as the “Gando fridges” among the local community (Schoof, 2013). Further, the ceiling of the library is constructed in a very interesting way. It makes use of handicraft in the form of locally produced earthenware pots. These are traditionally handmade by the women of the village, the clay pots are sawed and then cast into the roof. The circular openings of the pots create a playful pattern and introduce natural light and passive ventilation in the interior spaces.

SOCIAL SUSTAINABILITYBesides the sustainability of the buildings in the sense of low energy use and the materials, there is the added value of social sustainability. The education of people and extending their knowledge is an important element in the

building process. According to Kéré there are three reasons for working together with the community: it is cost-effective, local people can extend their knowledge about building and it also provides jobs and a sense of pride among the builders (Schoof, 2013).The project also enhances the sustainability of the educational

opportunities in Gando. The campus provides cool and airy learning environments for children, which has a positive impact on the children’s learning achievements. Furthermore, the secondary school gives graduates of the primary school the opportunity to further their studies. This project changed Gando’s architecture, but more importantly, it also changed the local community.//

Sources Alarcon, J. (2012). In Progress: School Library Gando / Kere Architecture. Retrieved 8 may 2015, from http://www.archdaily.com/262012/in-progress-school-library-gando-kere-architecture/ Primary School / Gando / Burkina Faso. Retrieved 8 may, 2015, from http://www.kerearchitecture.com/projects/primary-school-gando/ Schoof, J. (2013). People come first. Interview with Diébédo Francis Kéré. Daylight & Architecture Magazine.

ImagesSchoof, J. (2013). People come first. Interview with Diébédo Francis Kéré. Daylight & Architecture Magazine.

The use of local materials and a purely passive climate design fits the character of the Gando Campus. Using local materials means that the community can maintain their buildings themselves.

case study 1/4GANDO CAMPUS

07

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JUDITH THIJM

case study 2/420K HOUSEIn 1993 the School of Architecture of the Auburn University, Alabama established Rural Studio, a program in Hale County. This off-campus program was set up by D.K. Ruth, a devoted teacher, and the artist and architect Samuel Mockbee in the philosophy that every person deserves a well-designed house. Hale County is a county in the state of Alabama. Like many counties in the Black Belt region, it has experienced economic decline and struggles with unemployment and educational, medical and housing problems.Rural Studio was set up to tackle the housing problem and improve the lives of the most impoverished communities in West Alabama, whilst educating architecture students. By providing them practical experiences and by giving them the chance to collect knowledge from the field, the students will create a sense of social and environmental awareness. And besides that, how cool is it to start designing real houses for real people, with real wishes and needs? In 2005, Rural Studios started the 20K house project, driven by the idea to design a house, suitable for large-scale reproduction, that can be built for 20.000 dollars, of which 12.000 is spend on materials and 8.000 on labour (land costs are excluded). This is the maximum amount of money someone in Social Security can afford to pay in monthly mortgage instalments. It started with a single design, but every year the studio challenged the students to figure out how to improve the previous design. The houses are quite small (approximately 50 square meters) but they contain spacious porches comparable to traditional Southern houses. This year Rural Studio will finish the research phase and start selling some of the houses.//

Sourceshttp://www.ruralstudio.org/http://www.fastcoexist.com/3017309/this-impeccably-designed-20000-house-could-soon-be-yours#2http://www.archdaily.com/421187/rural-studio-celebrates-20th-anniversary-with-eight-20k-houses/http://www.citylab.com/design/2015/02/the-promise-of-the-20000-house/385060/

09

VITA TEUNISSEN

case study 3/4NEW ARTIST RESIDENCY“You can go anywhere from anywhere”

Near Senegal’s north-east border with Mauritania lays the rural village of Sinthian. On the 4th of March 2015 the local community opened the proverbial doors of a new cultural centre, designed by architecture firm Toshiko Mori Architect.

INTRODUCTIONIt all started with Doctor Magueye Ba from Senegal’s capital Dakar. He moved to the village of Sinthian to help the community improve its health and education conditions. Together with the non-profit organization American Friends of Le Korsa (ALFK), he initiated the construction of the village’s first kindergarten, arranged salaries for its teachers and took over the medical centre. In 2013 they decided to extend this program with a focus on cultural and artistic aspects. They invited the British Wayne McGregor’s Random Dance company to perform and run dance workshops, which was so enthusiastically received by the locals, that they decided to facilitate more of these activities.

SOCIAL AND CULTURAL CONTEXTTo realize these ambitions, ALFK collaborated with the Josef and Anni Albers Foundation from Connecticut, New York, which funded the construction of the Artist Residency and Cultural Centre “Thread”. The German-born artists Josef and Anni Albers moved to the United States of America in 1933, where they established a non-profit organization to advertise the power of art. The name “Thread” is derived from a saying by Anni Albers, who was a textile artist. At 22 she wrote in her diary that she had discovered that amazing things could be created from just some “limp threads”. For the cultural centre, “thread” expresses its main goals: to run thread-like connections through people, locally as well as internationally. The mission was to both inspire artists with the rawness and pristine quality of the area and to connect the locals of Sinthian with art from around the world.

The project is housed just outside of the village, within the gated area of Ba’s medical centre. The complex exists of a number of small pavilions, including two rooms for visiting artists and one for the director, and a large construction, containing closed studio spaces and open-air courtyards. This, shielded from the rain and the sun, is the heart of the project, providing space for cultural and creative workshops, but also for more political activities, like community meetings.

MATERIALS AND BUILDING TECHNIQUESThe complex was designed pro-bono by New York

based firm Toshiko Mori Architect (TMA), that has some experience with Senegalese architecture. The firm worked together very closely with the local community, which results in the materials and building techniques that were used: only local. For example, the roof is made of an intriguing construction of bamboo,

through which mats of straw and grass are weaved. The walls are made of brick, some of them finished with a thin layer of white plaster. Based on local techniques for air circulation, the holes in the bricks are used for ventilation of the houses.

EARTH AND CLIMATEAll materials used are locally produced with very little machinery and thus with little environmental consequences. Based on the local customs, the roof is thatched and sloped. Usually, the water (yes, it does rain in Senegal) runs of and is absorbed quickly into the soil. Toshiko Mori used this architectural typology, but designed a network of canals that collect the water in reservoirs. The system now provides 40% of the local water usage and additionally offers much cleaner water than current methods. The original plan was to include solar panels but they have thus far not been obtained.//

Sourceshttp://www.archdaily.com/608096/new-artist-residency-in-senegal-toshiko-mori/http://www.thread-senegal.org/http://www.nytimes.com/1985/08/25/nyregion/anni-albers-and-the-thread-of-art.htmlhttp://divisare.com/projects/284611-Toshiko-Mori-THREAD

The mission was to both inspire artists with the rawness and pristine quality of the area and to connect the locals of Sinthian with art from around the world.

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MAX VERHOEVEN

case study 4/4BAMBÚ SOCIALUnder the project name BAMBÚ SOCIAL, a group of Dutch students and international young professionals designed a pilot for sustainable social housing in El Rama, Nicaragua, developing a building method by the use of the widely available resource bamboo. This building method can be practiced in a completely local manner: from the production and treatment of bamboo to the execution of bamboo prefab elements that can be used in local construction. A model house has been constructed with an integrated low-tech natural water purification and storage system that provides clean drinking water for the inhabitants of the house.

CONTEXTNicaragua is known to be the poorest country in Central America, as almost half of the people’s income is below the national poverty. In addition, studies show that Nicaragua has the poorest quality of housing in the whole of Latin America, with a housing shortage of 12% (IDB, 2012). The high costs for building, the use of poor construction materials and the lack of infrastructural access all contribute to these housing problems. Furthermore, in many rural areas like El Rama, there are serious issues in the supply and quality of clean drinking water. At the same time, resources are abundant. The town experiences 3000 mm of rain and 2400 hours of sun per year, has various bamboo plantations, and a rich, but partly forgotten, building culture rooted in Indian traditions.MATERIALS & BUILDING TECHNIQUESThe core shape of the house is determined by the choice of material, bamboo, and the desire to create a well-ventilated house. Bamboo retains its maximum quality when it is shielded from direct contact with sunlight, rain or earth. Taking this into regard, the roof of the model house has large overhangs to protect the bamboo. The

house features two roofs: a smaller one and a bigger one, with an open ridge to create a natural airflow through the building. This form of passive natural ventilation has a cooling effect in the hot and humid climate. The elevation has been made to protect the bamboo from the rain, to aid airflow and to be able to cope with minor floods that occur often in El Rama. All the sanitary functions of the house are located in a lower part at the back, that’s been designed to cope with water. Another aspect taken into account is the presence of a veranda, as verandas act as a ,

living room and as a space to meet friends and neighbours. SHARE KNOWLEDGE & EXPERTISEBuilding capacities and the exchange of knowledge are at the core of BAMBÚ SOCIAL. A series of workshops and a course “Sustainable Design & Construction” have been hosted in the centre of El Rama, providing theoretical classes to the people while engaging them in practical work on the model house. The house has collectively been constructed with students from the BICU and

many resourceful local craftsmen. The aim is to develop and spread knowledge on using local renewable resources in order to create comfortable, healthy living environments that are more affordable as well as sustainable than the existing houses in the area. To spread the possibility of creating affordable and dignified social housing, BAMBÚ SOCIAL has created a bamboo construction manual, in which the entire proccess of constructing a $7000,- bamboo home is explained step by step accompanied by handdrawings.//

Sources www.architectureindevelopment.org/project.php?id=468www.students4sustainability.nlwww.shortsightedarchitecture.com/newsletter/http://issuu.com/shortsightedarchitecture/docs/bamb___social_projectrapport_2014_k

illustration by Sylvia Machgeels

Bamboo Modelhouse, El Rama Nicaragua

11

ARCHITECTURE IN DEVELOPMENTARCHITECTURE IN DEVELOPMENTINTERVIEW WITH FOUNDERS ROB BREED & CHANG FANG

FACILITATES A NEW GENERATION OF COMMUNITY ARCHITECTS

The beginning...

Twelve initiatives will change the world in 2015, and takepart.com says Architecture in Development (AiD) is one of them. I had the pleasure of interviewing the founders of AiD, Changfang Luo and Rob Breed, in their lively home in Amsterdam. Next to raising two kids, the couple has been working on the online platform since 2011 to crowdsource world-wide projects that represent new opportunities for a different architectural practice. For this interview Changfang, an enthusiastic bomb of energy, and Rob, the more serious but equally engaged counterpart, will share their story and future dreams of AiD..

We both had doubts about the architectural education and practice. (Changfang) When I think about the education I had, it was mainly about learning ‘skills’: exercising storytelling and making good presentations. (Rob and Changfang both studied at the Academie van Bouwkunst, red.). We did not learn about ‘ways of thinking’. After school and a few years of practice, I have slowly begun to rediscover a fascination with Asian cities. How they developed incrementally by people, where aesthetics plays a little role... (Rob) At the beginning we were (and still are) more interested in questions than answers. ‘What is architecture about?’ An obvious question but no obvious answers. The more we try to find answers, the more we ended up in sociology or philosophy. ‘What makes humans do what they do? What are the results of their collective actions?’ Architecture is a physical result of what people do together, and that’s why we have an interest in how communities make architecture.

(Changfang) Common discourse in architecture, especially in the last 20 to 30 years, has been focused mainly around objects, icons. We’re used to create buildings for the people, but in fact we only talk about concepts, technologies, sustainability... no one really talks about people or communities and their relationship with architecture.

Pff, that’s a big subject... We do not have a quick answer.Otherwise, it would not be ‘Architecture In ‘Development’ anymore. (Rob)We see architecture more as a phenomenon; a solidified result of human activities within a community.It’s interesting to see how architecture develops in a time when religion and traditions are disappearing. More and more people are seeking a sense of belonging and communal values, to create architecture that belongs to us.

MAX VERHOEVEN

Larabanga Mosque, Ghana. One of the oldest mosques in West Africa.

Screenshot interactive map A.i.D.


What is Architecture?

12

MAX VERHOEVEN

(Changfang) In the past, communities were often formed based on shared values, such as family or religious values. Today conflicting individual, local and global values co-exist in our multi-cultural societies. This makes it extremely difficult to create architecture that represents a shared community value. That’s why most of the projects on our site are taking place in rural areas or villages. The sense of community, which you may believe has disappeared in the cities, is still very strong in less developed regions. One example is in Italy, a village called Pescomaggiore is heavily damaged by an earthquake. A group of architects, raised funding and made a plan together with the villagers to rebuild this community.

The oldest will be 14 years and the youngest 12 years, both in high school. The children play an important role in Architecture In Development. (Rob) You are not totally free in the decisions you make as parents; our house, our website are constantly in development with our own micro-community…

At the moment we are making plans to pilot an award challenge. (Changfang) We believe that we need a new, systematic approach to mobilize bottom-up, community-driven architecture. Local communities know better what they need and how to build, these are master builders, master planners with local know-how. On the other hand, more and more young architects are interested in finding new ways of doing architecture, without a client… (Rob) Our award challenge aims

to bring the ‘needs’ closer to the architects and experts from all fields, and connect needs to offers. We also want to make sure that through this challenge, communities will be empowered to play an active agent

in the building process. (Changfang) to reverse the status quo in which people are the ones to offer solutions, instead of the designers. In ten years it would be great

if these local initiatives are facilitated by our online tools, so local communities can reach both local and international experts, to access the most needed resource and expertise. Architectural practice will look

very different then...

(Rob) We hope after ten years, both local communities and young architects will be empowered, architectural discourses will be more focused on people and the process, so architecture can be reinvented, towards a practice that is closer to its roots.

Sourceswww.architectureindevelopment.orghttp://www.takepart.com/photos/12-projects-that-will-change-the-world-in-2015/10-europe-architecture-development

Architecture is a sort of solidified result of what people do together and that’s why we have an interest in what communities make and what communities do.

In ten years...

13

ANKE DÄHLMANN & MAX VERHOEVEN

ILLUSTRATION: KARLIJN SCHOLTENS

There is a growing demand for science and technology to develop sustainable solutions for pressing societal challenges in the developing world. TU Delft is eager to contribute to this and, therefore, has launched the Delft Global Initiative in January. Science & Technology for Global Development is thus one of the spearheads of TU Delft.

The Delft Global Initiative is the portal and booster of activities in education and research and focuses on problem-oriented interdisciplinary technical (research) projects. By working in concrete, real-live projects, in close cooperation with partners in the developing world, students and researchers can contribute to meaningfully improve lives of people living in poverty. Because reciprocal knowledge exchange and long-term cooperation is crucial, Delft Global will create global alliances with knowledge institutes, NGO’s and private partners. Delft Global builds on current activities of students and researchers engaged in global development, and stimulates and supports new initiatives.

In the domain of education, Delft Global wants to function as a portal where information on student projects and courses can be found. As one of the first steps, a database with BSc and MSc courses related to global development has been set up. But also new courses shall be developed. Anke Dählmann, network

DELFTGLOBAL INITIATIVEScience & Technology for Global Development

Many projects need an interdisciplinary approach. We could, for example, help to link students from different studies with each other, to form a strong team that can tackle the challenge. We also want to work together with the internship coordinators for this.

coordinator and responsible for the development of education activities: “We want to support students who want to do a project in a developing country, as much as possible, such that they can put their full energy into the project. Ideally, internships should be embedded in research going on at the faculties. This would greatly enhance the quality of the project and guarantee optimal supervision. Many projects need an interdisciplinary approach. We could, for example, help to link students from different studies with each other, to form a strong team that can tackle the challenge. We also want to work together with the internship coordinators for this. As we are just starting, we are especially keen to get to know what students need, whether they experience any obstacles, or whatever they think we could help them with. Let us know!” Delft Global Initiative also works together with Students 4 Sustainability.

DICK VAN GAMERENDick van Gameren has been appointed as a member of the steering comittee of Delft Global Initiative (DGI). He sees that the DGI, that is organized at university level, can bring together people and knowledge from the different faculties so they can learn from each other and a synergy will arise. According to Van Gameren he has been asked as a representative for the Faculty of Architecture and the Built Environment for his past contributions in the guidance of students with projects in developing countries.

‘’TU Delft and other universities in general are very focussed on research. Through

the DGI there has already been calls for fellowships and this will expand. For this research there are funds from TU Delft.

But what can you do with students and the education? In the chair of Architecture and Dwelling we now have an MSc 2 ‘Global Design Studio’ in India and a graduation programme in Addis Abada, Ethiopia. The one of two research

fields for the Chair of Architecture & Dwelling is ‘the issue of afforable housing in newly evolving evonomies worldwide’. This Global Housing Studio addresses the pressing problem of providing decent, affordable housing in the Global South, regions where rapid economic growth goes hand in hand with a sharp increase in the urban population and the emergence of a new middle class. It focusses on different layers of collectiveness and on local conditions and their impact on design proposals.

In the projects the field trips to Ethiopia and India are obligatory. The danger exists for tourist trips, when students take there Lonely Planet and just enjoy their stay. For Van Gameren this is why the collaboration with local parties is of essential value. In Ethopia we have established a partnership with the local university for the exchange of knowledge and people.//

More info and contact: [email protected]

humid tropics

about environmental differencesin architecture

dry tropics Building forthepeople

temperate

wet warm plantywarmcold nightswarm days Dry

seasons

cold nightswarm days

block cold wind with thick walls and vegetation

Eavesto protect walls from

weathering by sun and rain

Verandaoutside space protected from rain

steep roofs1. water runs of more easily

2. heat of sun rays less affecting3. heat ascends

Ventilation

cold air enters

hot air leaves

Essential for cooling of interior atmosphere

heigth1. more breeze

2. protected from floodingorientation

reduce east and west facades to decrease warmth of low sun during mornings and afternoons

E

shadeuse trees to create shade

ventilationcreate space between buildings

to enhance ventilation and thus cooling

Wateruse natural relief and water flows to improve

water management

Ventilationcreate a v-shape clearing

to enable ventilation

shadeuse narrow streets and

courtyards to create shade

coolinguse water and vegetation

to cool the air

grounduse the ground’s mass to

insulate the house from heat

ventilationthe higher, the cooler the air. use a chimney to catch this air

alternative: cupola

MASSCreate thick walls for thermal mass

densitybuild houses close together,

to decrease the amount of outer walls exposed to the sun

orientationmain streets should run from north to south, so there’s always shade to walk in

temperatevery cold during winters,

but very warm during summers

shadeoutside space shaded

from the sun

human warmthwhen it’s cold just invite

more friends over

wind

firepplacelocate it in the middle of the house for the biggest effect

sloped roofso both snow and rain can run off

thermal massto keep the cold out during winter and in during summer

solar warmth

openingsuse small windows on the shadow side

of the house, to decrease heat loss

locationkeep the houses out of the wind by

using woods or mountains as a wind shield

earth warmthuse the stable temperatures of the

earth to heat or cool Spacekeep enough space between the houses

for the sun to reach their walls

use local materials like wood and stones

15

VITA TEUNISSEN

humid tropics



temperate


seasons








Ventilation

cold air enters

hot air leaves





E





water management






to cool the air




alternative: cupola








from the sun


more friends over

wind




solar warmth









In 1987, Johan van Lengen founded the Bio-Architecture and Inituitive Technology school (TIBA) in the coastel jungle of Brazil, offering workshops about environmentally friendly housnig, sanitation and communication. Later, he published the book Barefoot Architecture, with the goal to instruct “those of you who dream of building a home”.

In this truly inspiring, 700-pages counting guide, Van Lengen offers all information needed, for builders, architects and everybody else, to understand the value of architecture that fully fits its surroundings without doing any harm to it. Every tip is illustrated with amazing graphics that Van Lengen drew himself. To give you a taste, we’ve put together a fraction of its content in this infographic. Van Lengen distinguishes three different climates: humid tropics, dry tropics and temperate. He repeatedly emphasizes the importance of understanding a place before building in it.//

humid tropics



temperate


seasons








Ventilation

cold air enters

hot air leaves





E





water management






to cool the air




alternative: cupola








from the sun


more friends over

wind




solar warmth









When you arrived in Kenya, did you encounter a culture shock?David: When we arrived in Nairobi we were still surrounded by western people, but when we left the airport we immediately noticed the differences. During our drive over unpaved roads with big holes, we saw people and animals walking everywhere, it was a complete chaos. My first thought was: where are we? Eventually we arrived safely at JOOUST.Umit: It definitely felt like a culture shock. When leaving the airport we drove past the typical poor houses with corrugated tin roofs. Also, every time we pulled over, everyone immediately came to us hoping to sell food. What did we sign up for?

What kind of project did you do in Bondo? David: We did a research project amongst farmers. We tried to find out what the biggest challenges and problems concerning agriculture were for them. Parallel to this research, we built a greenhouse together with the local farmers. This greenhouse now function as a demonstration centre for them and other farmers near the village.Umit: After the research, an interview with 25 local farmers, we knew what were the biggest problems and challenges for these farmers. The knowledge about agriculture amongst the farmers and especially the use of greenhouses were very limited. The results of the research were used to develop a strategy for JOOUST. We advised the university to offer agriculture courses for the local farmers, by using the greenhouse that we built for practical demonstrations.

How did you approach the farmers in Bondo? How did that go?

David: On the third day in Bondo we were introduced to Mr. Jackson, the agriculture officer of the village. He had a large network of farmers and almost knew every single one of them. He arranged the interviews for us and brought us to each farm together with his colleague Jack. A trip to a farm took us approximately 15 minutes with the pikipiki (a motorcycle). Mr. Jackson came along with us to translate the Swahili language whenever the farmers couldn’t speak English, but most of the farmers did. The contact with Mr. Jackson was very helpful, without him we were never able to find all those farmers and it also created a circle of trust between us and the farmers. In general the farmers were very friendly and helpful.

What are the differences between the students in Delft and students in Bondo with whom you worked?

David: We were often not perceived as students. The funny thing was that even the Kenyan teachers thought we were businessmen or teachers. The main difference was that students in Bondo tended to be more reticent and shy, which might be due to the norms and values in Kenyan educational institutions. To apply a critical attitude is very important in Dutch school-systems, in Kenya it is more about following your teacher’s ideas.Umit: I believe that it really depends on the way of life and how we perceive the world. The Dutch culture is very individually oriented, people focus on getting a degree to make a lot of money. In contrast, students in Bondo study for a bit of hope and money to provide for their families in the future. The Kenyan culture is more a collective one. Also students eventually go back to the place where they come from if they finished their study.

Were there any obstacles that obstructed your project?David: Our own knowledge about agriculture obstructed the research a little bit. Mr. Jackson and Dr. Andika, the supervisors, were the specialists on agriculture. Therefore we were also constantly dependent on them. We had underestimated this a little. Furthermore, the interviews and building the greenhouse went well. Only there were some difficulties in the funding of the greenhouse. A part of the greenhouse would have been funded by the university, but eventually it turned out that Dr. Andika paid for that part himself. Dr. Andika said to us: ‘let’s assume that the university paid’. We think that he might wanted to manage and exploit the greenhouse himself, because they don’t watch the financial flow that well.Umit: In the beginning the process went smooth, but in the last weeks the smooth – way of living took serious proportions. We waited 5 days for a drill an at one moment our supervisor was gone for two weeks. Sometimes we just had to improvise.

What could our university learn from the university in Bondo?David: The involvement of teachers with their students. For example, Dr. Andika called every student personally if a lecture was cancelled. There is a clear hierarchy between students and teachers, but the teacher is closer to the students than in Delft.Umit: I agree with David.

THE EXCHANGE STUDENT.SPECIAL BONDO, KENYA

Building a greenhouse in a small village in Kenya together with local farmers, what would that be like? David Kooymans, student Architecture and Umit Sheombarsing, student Applied Physics, went to Bondo, Kenya for their minor International Entrepreneurship & Development of the TU Delft. They did a project about agriculture at the Jaramogi Odinga Oginga University (JOOUST).

TIP:For some authentic

Kenyan food: try the ugali with kuku and sukuma wiki at

the Park Hotel in Bondo.

JARAMOGI ODINGA OGINGA UNIVERSITY

Laan van Zuid Hoorn 60 • 2289 DE Rijswijk(070) 308 21 21 • [email protected] • www.kds.nl

De SwartDen Haag

De Swart, van huis uit drukker. Nu een organisatie die het hele communicatie traject beheerst. En dat allemaal onder één dak aanbiedt. Met als filosofie: Met elkaar, voor elkaar!

Deze woorden staan voor wat we doen en vooral ook hoe we het doen. Om met het wat te beginnen: alles op het gebied van gedrukte, geprinte en digitale communicatie in combinatie met mail, fulfilment, warehousing en logistiek.Met professionals die ook interim, gedetacheerd of als consultant voor u aan de slag kunnen. Hoe? We zetten de lijnen uit, adviseren, regisseren. Met maar één doel voor ogen: het realiseren van uw communicatiedoelstellingen.

www.kds.nl

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HUGO KOOYMANS

2317

DAVID AND UMIT IN KENYA


De SwartDen Haag



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What was the scariest moment during your stay in Kenya?David: The public transport in general was very scary. Once, I was sitting at the back of a pikipiki driving 100 km/h over an unpaved road with many holes, without a helmet. Driving over one of these holes would very likely result in death, which was a scary thought. Umit: It was the moment when David forgot his passport. Three military men on the streets of Nairobi stopped us. They said to me: “you’re safe” and told David: “you’re in big trouble”. It was clear that we were being corrupted and that they just wanted to see money. I ran to the hotel to pick up David’s passport, but got stuck in the elevator. I was scared, because I thought that they were going to do something to David.

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What are the most important things you learned in Kenya, besides your project?

David: The way they deal with time in a different way. If you make an appointment you never know what’s going to happen. Will the person show up, and more importantly at what time? People in Kenya assume that you’re extremely flexible. Therefore, you can only plan one appointment a day. Umit: In the Netherlands people are easily stressed, busy with themselves and with their phones. In contrast, people in Kenya take all the time they need to reach their goals. They care more about the people around them. Students are curious, but in a “Pole Pole”-way, calmly.//

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ONTWERPPRIJS VOOR STUDENTENDEADLINE:

31 AUGUSTUS 2015

Adv_Scholarship_230x296_v1.indd 1 26/05/15 14:23

Zo leuk kan werken zijn!

Doordat ik tijdens mijn bestuurswerk veel met sponsoring bezig was geweest, leek het me een uitdaging te solliciteren voor het Sales Internship in navolging van het Internship bij Development wat ik eerder heb gedaan. TOPdesk reageerde enthousiast en ik mocht op gesprek komen.

Ook het Sales Internship is me goed bevallen. Ik zat in een gezellige groep en heb hier weer veel geleerd. De eerste twee weken kreeg ik verschillende verkooptrainingen en leerde TOPdesk goed kennen. Gedurende het Internship werden we goed begeleid en werd er regelmatig geëvalueerd.

Tijdens ons inwerktraject luisterden we eerst met vaste medewerkers mee aan de telefoon, daarna mochten we zelf de telefoon ter hand nemen. Als het bedrijf geïnteresseerd was in TOPdesk, stuurden we een informatiepakket. Mijn eerste belletje was direct raak!

Ik zie het Internship als de ideale combinatie van op een leuke manier bijverdienen en relevante werkervaring opdoen. Na de zomer wilde ik graag bij TOPdesk blijven werken en na een paar gesprekken met mijn begeleiders werd duidelijk dat zij ook potentie in mij zagen. Momenteel werk ik hier anderhalve dag per week op de presales-afdeling.

Informaticastudent Martijn Rentmeester is voorzitter geweest

van zijn studievereniging W.I.S.V. ‘Christiaan Huygens’.

Een van zijn voorgangers vertelde over zijn ervaringen met

het Summer Internship van TOPdesk en hierdoor raakte ook

Martijn enthousiast.

Het Summer Internship is dé kans om te ontdekken hoe het is om in een succesvol internationaal IT-bedrijf te werken. Je versterkt gedurende zes weken een van onze afdelingen, samen met andere enthousiaste studenten.

Ga naar werkenbijTOPdesk.nl/SI en neem alvast een voorproefje op de leukste werkervaring van Nederland!

























G E T I N S P I R E Dmore than architecture

Photo: Hugo Thomassen

21

Presented at the Dutch designweek in Eindhoven, the mycelium chair was printed using a mixture of water, powdered straw and mycelium, which is the thread-like part of a fungus that lives underground. To create this chair Klarenbeek collaborated with scientist at the University of Wageningen."Our main purpose was to bring together the machine and nature to create a new material that could be used to make any product," The result is a new material that, Klarenbeek believes, could be used to make almost anything in future. "It could be a table, a whole interior or even a house," he said. After printing the mycelium grew within the structure, replacing the water and creating a solid but extremely lightweight material. Mushrooms began sprouting on the surface, at which point Klarenbeek dried out the structure to prevent them from growing further. "When you dry it out you have the straw kind of glued together by the mushroom."//Source: http://www.dezeen.com/2013/10/20/mycelium-chair-by-eric-klarenbeek-is-3d-printed-with-living-fungus/

A six-part documentary series profiling architects who are using design as a form of activism and resistance to tackle the world's urban, environmental and social crises.The series follows architects from Vietnam, Nigeria, Spain, Pakistan, Israel/Occupied West Bank and Brazil who believe architecture can do more than iconic towers and luxury flats - turning away from elite "starchitecture" to design for the majority.//http://www.aljazeera.com/programmes/rebelar-chitecture/

What do beer cans, car tires and water bottles have in common? Not much unless you’re renegade architect Michael Reynolds, in which case they are tools of choice for producing thermal mass and energy-independent housing. For 30 years New Mexico-based Reynolds and his green disciples have devoted their time to advancing the art of “Earthship Biotecture” by building self-sufficient, off-the-grid communities where design and function converge in eco-harmony. However, these experimental structures that defy state standards create conflict between Reynolds and the authorities, who are backed by big business. Frustrated by antiquated legislation, Reynolds lobbies for the right to create a sustainable living test site. While politicians hum and ha, Mother Nature strikes, leaving communities devastated by tsunamis and hurricanes. Reynolds and his crew seize the opportunity to lend their pioneering skills to those who need it most. Shot over three years and in four countries, Garbage Warrior is a timely portrait of a determined visionary, a hero of the 21st century.//http://www.garbagewarrior.com/

G a r b a g e W a r r i o r

M O V I E S T O W A T C H

T H I N G S T O D O

F o r m F o l l o w s F u n g u s

A R C H I T E C T S T O F O L L O W

S t u d e n t s 4 S u s t a i n a b i l i t y

Anna HeringerTYIN tegnesture Diébéclo Francis KéréAnne FeenstraArchitecture for HumanityArchitecture Sans FrontieresArchitecture in DevelopmentArch i platformBAMBU sociaalPico EstudioTIBA ROSEAlejandro AravenaCural studioA..GOR.A ArchitectsRudankoHankwunrenNLÉAcquitectus DescalzosArchitecture of Consequence Unsolicited Studio Beyond Architecture GroupMichael ReynoldsBC Architecture and Study Andrés BäpplerGreta Tresserra Richard Bennet

Photo: Hugo Thomassen

De Stichting Students4Sustainability, kortweg S4S, is een studentenorganisatie met een duidelijk doel: investeren in duurzame techniek in de derde wereld. Verder, wil S4S de Delftse student enthousiast maken voor duurzame technieken, zo organiseren we bijvoorbeeld maandelijks een interessante lunchlezing. Studenten kunnen zich binden aan de projecten van medestudenten door per maand €2 te sponsoren.//Zie ook www.students4sustainability.nl of vind ons op Facebook.

R e b e l A r c h i t e c t u r e

ILLUSTRATIE: ANNE DE ZEEUW

M i e s . N LMies. NL is een initiatief opgericht en geleid door studenten van de Faculteit Bouwkunde aan de TU Delft. Ons doel is om informele en ongeremde interviews te houden met architecten (zowel klein als groot) en ze in de schijnwerpers te plaatsen door screenings en publiekelijk beschikbare films. Het kunnen slechts kleine inzichten zijn, maar als een collectief geheel geven ze een uniek beeld van wat architectuur vandaag de dag inhoudt – dit allemaal door de ogen van de studenten.//Voor meer informatie: https://www.facebook.com/

miesnl

B u i l d a p a v i l i o nHave you ever wondered how to build using only natural materials and low-tech details? Would you like to learn about earthbag domes, bamboo constructions and other natural building techniques? Build naturally? Yes you can! Expert knowledge as well as student project experiences will be shared and who knows, maybe you will get enthusiastic about getting some practical experience and you will help us to build a full scale natural pavilion. Because 'Natuurlijk bouwen kun jij ook'!//For more Information: www.facebook.com/natuurlijkbouwen-

kunjijook

In 1964, Bernard Rudofsky curated the exhibition Architecture Without Architects at The Museum of Modern Art in New York, thereby drawing the attention of the postwar Western public to traditional architectures, rescuing them from the ignominy to which they had been consigned by the ‘national’ ideologies of Europe in the 1930s. In the early 1980s, Ivan Illich published a number of radical critiques of modernity in which he drew attention to ‘vernacular’ values, proposing a trenchant but hospitable definition of this term.//

This publication is a visual story about how people influence change in the city. The collapse of faith in top-down planning has been followed by a renewed interest in the self-generating wisdom of bottom-up urban initiatives. Fusing her photography with a manifesto-like text, architect Afaina de Jong marks the people in the streets as the starting point of all urban trends and cultural innovation. She calls upon us all to become architects of our own environment.//

B O O K S T O R E A D

Architecture In Development (A.I.D.) is an organisation initiated to re-connect sustainable development to architecture by developing a user-generated knowledge platform. Their bookshop contains the most elaborate collection of books and movies on the topic of community based architecture: www.architectureindevelopment.com

L e a r n i n g F r o m Ve r n a c u l a r

F o r T h e P e o p l e B y T h e P e o p l e

P L A C E S T O G O

Een ziekenhuis wilde een schuifdeur in het SL30 profielsysteem, maar dan wel brandwerend.

Deze vraag werd bij MHB omgezet in actie en deze schuifdeur is ontworpen en vervolgens succesvol getest bij Efectis.

De met superslanke (30mm) profielen geproduceerde schuifdeur is 60 min. brandwerend getest volgens EN 1634-1

Brandwerende SL30 schuifdeur van MHB

MHB 75 PMS_Opmaak 1 12-12-13 13:00 Pagina 1

De Koning Willem III Kazerne is gebouwd in 1938/39 voor de opleiding van dienstplichtige rekruten voor de Koninklijke Marechaussee. Om aan de hedendaagse bouwfysische ei-sen te voldoen kiest men nu voor MHB Classic-ISO®. Het klassieke stoeltjesprofiel van weleer, nu echter in ther-misch geïsoleerde uitvoering en een sluitsysteem dat de wind-en waterdichtheid garandeert. Met dit profielsysteem wordt de maatvoering van het oorspronkelijke stoeltjes-profiel gehandhaafd, zelfs de exacte afmetingen van de originele ramen en deuren. Net als SL30-ISO® voldoet het systeem aan de moderne eisen ten aanzien van veiligheid, inbraakwerendheid en milieu.De KWIII kazernegevels zijn authentiek gerenoveerd met het MHB Classic-ISO® profielsysteem.

Voor meer informatie over Classic-ISO® kunt u contact opnemen met:MHB b.v. Postbus 6, 6674 ZG Herveld 0488 - 45 19 51 www.mhb.nl Roland Werring [email protected] Ernst Mahler [email protected]

MHB advertentie 3 regels NAW Classic Iso_MHB advertentie 14-04-14 13:12 Pagina 1

SL30-ISO® SL30® SL30-ISO-PLUS® Classic-ISO®

SL30-ISO®

Wind- und Schlagregendichtheit

Wind- und Wasserdichtheit im täglichen Gebrauch:

Die optimalen Bedingungen, unter denen unsere Produkte im Hinblick auf die amtliche Prüfung getestet werden, stellen eine nicht alltägliche Situation dar. Dies gilt insbesondere, weil unsere Produkte in großen Stückzahlen in unserem Werk hergestellt werden. Wir sind daher unseren Kunden gegenüber so realistisch und ehrlich, ausdrücklich zu erwähnen, dass die offiziellen Werte einen zwar realistischen, keineswegs aber verbindlichen Wert wiedergeben.

MHB garantiert gleichwohl die Einhaltung der CE-Kennzeichnung zugrunde liegenden Erfordernisse:

Festverglasung 9A (600PA) klasse 4

Fenster- Außendrehend 8A (450PA) klasse 4

- Dreh-Kippfenster 9A (Innendrehend) (600PA) klasse 4

Türen- Außendrehend 8A klasse 4 (450PA)

- Innendrehend 8A (450PA) klasse 4

Offizielle Wind- und Schlagregen-Dichtheitsprüfungen

MHB Produkte erhielten folgende Ergebnisse in Wind- und Schlagregentests, die von CE-Akkreditierten Prüflabors durchgeführt wurden:

Festverglasung E1200 (1200PA) klasse 4

Fenster- Außendrehend E1200 (1200PA) klasse 4

- Dreh-Kippfenster 9A (Innendrehend) (600PA) klasse 4

Türen- Außendrehend 8A klasse 4 (450PA)

- Innendrehend E750 (750PA) klasse 4

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Alle MHB-Fenster und Türen sind offiziell CE-zertifiziert. Dies bedeutet, dass all unsere Produkte von einer amtlich anerkannten Zertifizierungsstelle getestet wurden.

Einbruchsicherung:

Alle MHB-Fenster und Türen können mit einem CE-Zertifikat für Einbruchsicherung geliefert werden. Diese Produkte wurden von einem amtlich anerkannten Zertifizierungs-Büro getestet. Die SL30-ISO® Fenster und Türen bieten Einbruchhemmung bis Klasse-2-Ebene nach EN 1627 und NEN5096 + C1 2007.

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INNENBErEICH

zeitgenössisch... energieeffizient... denkmalerisch...

AUSSENBErEICH

DIE MHB-PALETTE FEINSTEr FENSTErPrOFILE

Classic-ISO® voor Koning Willem III kazerne, Apeldoorn

The purpose of Auroville is to realise human unity – in diversity. Today Auroville is recognised as the first and only internationally endorsed ongoing experiment in human unity and transformation of consciousness, also concerned with - and practically researching into - sustainable living and the future cultural, environmental, social and spiritual needs of mankind. Auroville was born on 28 February 1968. Its founder, the Mother, created the Auroville Charter consisting of four main ideas which underpinned her vision for Auroville. When Auroville came into being, All India Radio (AIR) broadcast the Charter, live, in 16 languages. Aurovilians apply the ideas of the Auroville Charter in their daily life, in policy-development, and decisions, big and small. The Charter thus forms an omnipresent referent that silently guides the people who choose to live and work for Auroville. //For more Information: www.auroville.org.

A u r o v i l l e

Voor meer informatie over de (brandwerende) SL30- profielserie kunt u contact opnemen met:MHB b.v. Postbus 6, 6674 ZG Herveld 0488 - 45 19 51 www.mhb.nlErnst Mahler [email protected] Remko Mathijssen [email protected]

Since the start of this year Seven Days has settled themselves on the Oude Langendijk. Their concept is quite smart; while drinking coffee you can buy everything surrounding you. That also establishes a good home like and fancy atmosphere. The building is a monument and used to be an old production bakery. This is still visible in the back of the store where there's a double gabled roof and the old bakkery tiles are still on the walls. Here's also the showroom with a lot of cool couches and a wall with all sorts of green plants that makes a nice contrast with the old chiseled wall. Hoarding warning!//Oude Langendijk 7A 2611 GK Delft

S e v e n D a y s

NIELS FRANSSEN

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CHAIRMAN’S NOTE

121

The end of our academic year is coming to an end and this means that Stylos is getting ready to finish her 121st year. Our committees are preparing the final events, including the big Study trip to India, MidSummerNight’s Festival and our Freshmen’s Weekend in August. Meanwhile, the current board is getting ready to hand over control of the association to our successors. In this Chairman’s Note they will shortly introduce themselves.

“Only a few weeks ago, we were rudely awoken by the current board of Stylos, to be packed up in a minivan and left behind a mere nine hours later in a desolate but beautiful bit of nature in the northwest of Germany. Our task: find our way back to Delft before the end of the day. Although we only just met, we figured (slightly too optimisticly) that it shouldn’t be too difficult.

We had Gert-Jan, candidate Chairman, and Nathan, candidate Commissioner of Events and Initiatives, as the heads of the bonding and drinks department; Lize, candidate Treasurer, and Maaike, candidate Secretary,

enthusiastically taking care of the long list of assignments we had received earlier that day.Willie and Vita, candidate Commissioners of Education, handcuffed together and ready to shine as a team. Finally there was Tom, candidate Commissioner of External Affairs, whose German was just as impressive as his negotiation skills, guiding us safely across the Dutch-German border.

In the end, the trip turned out to be a little harder and more time-consuming than we had anticipated. After a seemingly endless walk back to civilisation, an eventful hour of hitchhiking, a large amount of dancing and yelling under the watchful eyes of fellow train passengers and multiple “kein Geld, kein Zug!”-screaming ticket inspectors, we arrived back at the station of Delft later that night.

Since this eventful day, we have been busy preparing ourselves for next year. We are developing our board policy and ourselves as a group. We look forward to make next year just as successful, fun and educational as this one!”

2525PAST ACTIVITIESOn the 21st and 22nd of March the 24 hour Design Contest of Stylos took place in the Dutch

Innovation Factory, a former margarine factory in Zoetermeer. This year the case was to transform a vacant part of 6000m2 of the Dutch Innovation Factory into a space for offices, gatherings and other external events. In groups of 3 or 4, students started brainstorming ideas and concepts, which progressed into 3D-models and impressive impressions. During the competition architects from several bureaus came by to help the students during their design process. It was intriguing to see the students develop their

ideas in such a short period of time into concrete designs.After 24 hours of hard work the students were asked to present their designs to a jury, which consisted of architects from Fokkema&Partners, TAK Architecten, the director of the Dutch Innovation Factory, a guest lecturer from the Faculty of Architecture in Delft, and two members of the organization. The winning design was by team O.B.A. who fulfilled the requirements in the most fitting and creative way. Overall the contest was very enjoyable and the students were eager to work on this case as they were working on-site, on an up to date practice orientated design problem.

The first masterclass this year, organised by the Masterclass Committee, was a great success. Paul de Ruiter invited a few lucky students over to his self-designed office in Amsterdam where we worked on a very inspiring project. While Paul de Ruiter is known for his integral approach to sustainability in a both aesthetical and technical way, he does not shy away from bigger and more vague projects. The assignment focused on a small, manmade island somewhere halfway across the Afsluitdijk. The island has to be expanded, while preserving the physical presence of the history of human endeavour. At the end of the day, four entirely different designs, each focussing on a different facet of sustainability, were presented to Paul and his team.Working along a famous architecture firm on the same project was a huge thrill, not matched by our common design assignments. We hope that Paul de Ruiter learned as much as we did.

Op historische wijze ging de ouderdag op zaterdag 18 april 2015 de boeken in. Deze allereerste editie gaf de ouders een kijkje in het leven van hun bouwkundestudent. Door onze veelzijdige studie kregen de 250 deelnemers een tjokvol programma voor hun kiezen. De vakken mechanica, klimaatontwerp, architectuurgeschiedenis en stedenbouw kwamen allemaal aan de orde. De mechanicaworkshop was een battle, waarin de ouders een stabiele toren van karton moesten maken. In de pauze werd genoten van een Delfts broodje Leo, waarna collegezaal A was geopend voor de colleges over Delft en de TU Campus.Na de colleges werd de theorie real life bekeken tijdens een rondleiding door Delft. Moe van een druk programma werden de ouders door de Bouwpub welkom geheten in de Oostserre met een koud biertje. Daar werd geproost op het einde van een prachtige ouderdag, maar het begin van een nieuwe traditie.

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We don’t know if you feel the same way. But many times when we visited lectures from great big architects, we left the event impressed yet sometimes a bit depressed. Why? The architects show you their most amazing work, the beautiful sketches, renderings, floorplans and super high-resolution photographs. As we then compare their projects to our rather crappy university project - where we still don’t know why AutoCAD doesn’t let us use this or that specific command – it slowly dawns on us that it is well impossible to ever be as good as these architects. It’s quite an unfair setting.Wouldn’t it be much more fair, if the architects would show their projects, from when they were students themselves? This would give us students a common ground to compare our work with theirs. So we started this lecture series, where architects show everything they did at university, before they became architects with their beautiful renderings and floorplans.They show us in what surrounding they grew up to become an architect, and what the most important issues were at that time. Furthermore we get to see if the architect designs completely different from how he used to design as a student, or if their studies actually were bearing fruits.

The MidSummerNight-festival (MZN) takes place at the end of every academic year. This year it will be a festival where we expose work done by architecture students. Get ready to be overwhelmed by delicious food, good music, fun workshops and activities and simply the all-round craziness of MZN. Want to enjouy the pancake-baking-skills, yoga- or DJ-talents by the people you know from your lectures? Drop by on the 2th of July in front of the West Entrance of BK City 16:00!//

Last May, this dream became reality for 25 Stylos members. On the 4-day excursion to Milan they visited the Expo where several VIP tours through pavilions had been arranged. The excursion was divided into various themes, to each day its own theme. The students visited the Polytechnic University of Milan and were guided through the city past several old and redevelopment projects, on the first day of their visit when the theme was ‘Old Milan’. On the second day, ‘New Milan’ led them to the Mumac and architect Paolo Balzanelli, owner of Arkispazio, and the Bosco Verticale with

architect Stefano Boeri where the students got a nice look at the interior of the building and its apartments. The highly anticipated part of the excursion was of course the World Exposition 2015, which the students visited on the third day of the excursion. Here, the various subthemes came together in the main theme: ‘The connection between the World Exposition and Milan, how they came to be and influenced each other’. This was also the theme of the lecture given to the students at the university at the beginning of the excursion. The last day, day four, was an optional programme of visiting the old - and inevitably more touristic – treasures of Milan.

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COMING UP

At the beginning of this year the MediaCo organised a Photography competition with the theme Transformation. The winner will receive a photography course at the sport & culture unit at the TU Delft. After long delibaration the jury has chosen a winner. On the next page you can see the winning picture. We proudly present:

Pepijn Determann

Jury statement: “a thorough or dramatic

change in form or appearance’. By reusing old electronics such as keyboards and speakers the artist has transformed what would otherwise have been waste, in a piece of art and has given it a new purpose. The reason we have chosen this picture as the winner of our photography competition is that we believed that Pepijn really saw this connection between old and new. It also concerns an issue that is relevant in our current society because robots and artificial intelligence are more and more integrated in our everyday life.”//

and the winner is...

VANUIT EEN ANDER PERSPECTIEFEen architect die alleen kan ontwerpen komt er niet meer in deze tijd. De wereld verandert en zo ook de bouwwereld. Tegenwoordig is het van belang dat je jezelf kunt onderscheiden. Onderscheiden in het geleverde werk, of onderscheiden in je ‘achtergrond’.

In het dagelijks leven is geen enkele dag meer hetzelfde. Trends en bouwstijlen veranderen, werkgevers verwachten meer en ga zo maar door. Ook een architect moet zich bewust zijn van deze continue verandering, en moet hier dan ook op in spelen. Een architectuurstudent krijgt naast ontwerpopdrachten, eveneens les in de technische kant van het ontwerpen en leert alle fases die aan bod komen tijdens een ontwikkelingsproces. Echter, ontbreekt het de student van tegenwoordig aan praktijkervaring, terwijl dit juist wordt verlangd van net afgestudeerde architecten. In het verleden leerde een architect juist door het doen, niet via de theorie. Een kwalijke verandering? Of is het juist een positieve verandering?

Geen enkele opdracht is meer hetzelfde, “de klant is koning” wordt weleens gezegd. Om als architect ook maar kans te kunnen maken in de echte wereld zul je jezelf

moeten onderscheiden. Meer kunnen bieden dan een ander, maar wel zodanig dat de visie niet uit het oog verloren wordt. De hedendaagse architect wordt uitgedaagd om een oplossing te bedenken die past in zijn omgeving. Er moet naast de wensen van de klant rekening gehouden worden met duurzaamheid; een gebouw moet lang meegaan en multifunctioneel zijn. Er zijn zoveel aspecten waar rekening mee moet worden gehouden. De meest bruikbare grond is in het verleden al volgebouwd, populaire plekken zijn al ingevuld, de steden verdichten, maar de gebruikers houden hun eisen. Aan de architect de taak om met al deze aspecten wat te doen.

WAT MOET EEN ARCHITECT KUNNEN?Een architect moet in de eerste plaats creatief zijn. Maar een architect moet ook zeker ondernemend zijn, moet op tijd beginnen met netwerken, samenwerkingsverbanden aangaan en zelfstandig opdrachten binnenhalen. Een architect moet stevig in zijn schoenen staan, maar moet zich niet blind staren op zijn einddoel. Hij moet zijn visie kunnen overdragen, vol vertrouwen over zijn plan kunnen vertellen en een ander kunnen overtuigen, dezelfde visie kunnen vertellen

op steeds een andere manier. Om te kunnen overtuigen moet een architect kennis hebben, veel kennis, maar van belang is dat de architect geloofwaardig blijft, geen beloftes maken die niet nagekomen kunnen worden, de architect zal te allen tijde scherp moeten blijven. Niet onbelangrijk is het feit dat een architect de werkelijkheid in het oog houdt, blijft terugkoppelen of het ontwerp haalbaar is, daarnaast niet ‘standaard’ wordt, maar blijft dromen. Al met al moet een architect haalbaar blijven denken, ontwerpen voor de klant, en overtuigend zijn. De architect moet tijdens het gehele proces betrokken blijven en zijn verantwoording nemen.

VANUIT EEN ANDERE OPLEIDINGNaast alle jonge architecten en architectuurstudenten zijn er in het verleden al een groot aantal succesvolle architecten geweest. Zij voldeden aan de benodigde eigenschappen, maar hadden ook zeker hun eigen denken ontwerpvisie. Deze bekende architecten hebben niet altijd een opleiding tot architect gevolgd, maar zijn met hun denken ontwerpbeeld toch geworden tot wie ze zijn, een inspiratie voor de huidige generatie.//

28 cheposChepos is het onafhankelijke architectuur-tijdschrift van de studievereniging Cheops van de Technische Universiteit Eindhoven. Iedere editie wisselen Chepos en pantheon// een artikel uit.

CHASTITY VERHOOFSTAD

DE WERELD VERANDERT, DE BOUWWERELD VERANDERT MEE.

“... Le Corbusier was opgeleid tot graveur en ciseleerder (bewerker van gegoten metalen voorwerpen), evenzo was hij kunstenaar en schrijver...”

“... Daan Roosegaarde is opgeleid aan de Academie voor kunst en industrie in Enschede en later nog aan het Berlage instituut in Rotterdam. Staat niet geregistreerd in het architectenregister...”

“... Opgeleid als meubelmaker, maar via een interior design studio terecht gekomen bij een architecten studio....”

“... Een boksende timmerman die bijna iedere te winnen architectuurprijs heeft gewonnen. Van origine opgeleid tot timmerman...”

NAAM AUTEUR OF LEEGNAAM AUTEUR OF LEEG

29

By studying architecture, I’ve learned to consider everything thoroughly. Think about your decisions, but still, decide.

“When I started studying architecture, I loved iconic architecture. But the more I learned, the more I appreciated more modest architect. Iconic architecture is easy, it consists of large gestures. The beauty of reserved and sober architecture is hidden in its details, its materials. Today, I see architecture like sculpting:we are creating space.”

Bram Baak

HUMANS OF BK CITYA new generation of architects is currently being shaped within BK City.

For this issue we encountered some of these citizens and asked what drove them to study architecture.

NICO SCHOUTEN

VITA TEUNISSEN

“I’ve always had a fascination for materials, I loved walking through ruins, touching and smelling the tiles and stones. That’s why I decided to study architecture.“

Marjan Sadeghi

Mustafa Nazari

chepos

“... Een boksende timmerman die bijna iedere te winnen architectuurprijs heeft gewonnen. Van origine opgeleid tot timmerman...”

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