ADSL 2012 Transformer

ADSL 2012
[ TRANSFORMER ]
[ ]
CONTENT
L #01 13
TRANSFORMATION AND PLACE
Mark Pimlott
L #02 37
CHANCE
Anne Holtrop
L #03 43
A CITY IS (NOT) A TREE
Cino Zucchi
L #04 49
CRAFTSMANSHIP TRANSFORMED
Irene Curulli
L #05 55
TRANSFORMING THE PAST
INTO HERITAGE
Gregory Ashworth
L #06 61
OBJECTS AND TERRITORIES
Andrea Branzi
LECTURES INTRODUCTION
#00 06
ADSL
#00 08
TRANSFORMER
W #02 105
WILL THE OBJECT BE
TRANSFORMED BY A TRANSFER
OF CONTEXT?
Cyrille Berger & Laurent Berger
W #03 123
HABITUS
Lorenzo Bini
W #04 141
FROM BED TO STREET
Josep Bohigas & Daniel Cid
W #10 223
TO WEAVE OF NOT TO WEAVE?
John Lonsdale
W #09 207
TRANS_FOR_MORE
Spyridon Kaprinis & Maria Tsironi
W #05 149
NONUMENTS
Graeme Brooker
W #06 163
PUBLIC SPACE ACUPUNCTURE
Helena Casanova & Jess Hernandez
W #07 179
H IS FOR HOUSE.
Christian Frhlich
W #08 189
HELGOLAND FILIP
Geerts & Wannes Peeters
WORKSHOPS
W #01 69
RUINS
Alexander Bartscher
W #12 239
THE CITY: THE BUILDING:
THE ROOM
Sally Stone
W #13 251
ENOUGH IS ENOUGH !
Mathieu Wellner + Friends
W #11 231
DOCUMENTING THE INVISIBLE
Ramiro Losada
CLOSING
#00 260
LIST OF NAMES
#00 264
INDEX
6 ADSL 2012 [TRANSFORMER]
[ ]
Te Antwerp Design Seminars & Lectures
ADSL is an international event that
takes place each year at the Department of
Design Sciences at the Artesis University
College Antwerp (from October st :
Faculty of Design Sciences, University of
Antwerp).
Its aim is to stimulate cross-boundary
thinking in design and to familiarize
students in architecture, interior
architecture, landscape and urban
planning, with an interdisciplinary
approach towards design problems.
ADSL provides an international forum for
faculty and student exchange.
Simultaneously, its an informal platform to
discuss current problems related to the
education in design.
Te ADSL workshops explore the
references on the yearly given theme and
aim to investigate the power of a variety of
images and thoughts in landscape,
architecture, engineering, interior design,
monument care, through a poetic and
personal intuition in order to reach beyond
the specifc discipline. A lecture series
accompanies the whole events refection.
Students initiated the series in out of
a need to look further en beyond the
classical assignments based on programs.
Afer a list of some events managed by the
former dean prof. Richard Foqu, it was
clear that ADSL needed to become a
specifc appropriate platform based on
contemporary items. Tis way themes as
Sampling (), Serendipity () and
Happiness () were the frst to trace
another content by dealing with images,
coincidences and attitudes in the
architectonic world. Congruence (),
Transformer () and Dissolution ()
were pushing deeper into non-formal
requests, the last one even having a double
coding because dissolution could also be
read and spoken as the solution.
Step by step the ADSL-workshops became
well known in the institute as it was getting
also some resonance in the European
architectural context. People such as Jrg
Conzett, Marcel Meili, Daniel Rosbottom,
Raoul Bunschoten, Philippe Rahm, Mark
Pimlott, Wim van den Bergh were giving
guest lectures focusing on their proper
research and projects as well as on topics
related to a nowadays dealing with a
broader view and theory based design.
Workshop leaders, architects and/or artists,
from diferent institutes such as the
Architectural Association London,
Akademie der Knste Wien, RWTH
Aachen, Akademie Leipzig, TU Delf,
Politecnico di Milano or even independent
architects from Porto, Berlin, London,
Madrid, were teaching during a fve days
workshop on students per grou Tese
results were more than the simple outcome
ADSL
ADSL 2012 [TRANSFORMER] 7
of a given task and program. Looking at
the workshop results, it was a polysemous
answer on all possibilities students could
use and understand to trace an individual
parcours. Te notion the best week of the
year was given many times not only linked
to the content of the work but also because
of the atmosphere in the institute.
Te global themes, together with the
results of the more than workshops
relate to a series of contemporary needs in
architecture. In some way it is Research by
design but also Scale Model : and
Topos and Anatopism: a wide range of
open imaginations based on architecture as
a profession. Finally it is on Making
projects in which the meaning of
drawings, models, future, plans, discourse,
perception is integrated, but always with
architecture as reality.
Today, there is hardly any notion more
talked about than research while mostly
an adequate explanation on what can be
stated as important for research in
architectonic evolution is given. In this way
all workshops introduced for ADSL were
somehow exemplary on what searching
and research are about. Te titles as much
as the introductory and/or result images of
nearly all workshops underlined the
content clarifying that it was not just about
the gimmick of the good image, hardly to
be traced if it was real or not but about the
stated reality of the discourse and critic in
architecture as a main point of
imagination. No loose interpretations were
possible. Te well-defned method of
working during only fve days for having
the best results, the work intensity and
fnally the grandeur showed all that
architecture is a profession we all need to
maintain and, being autonomous as a
discipline, it is not just an activity of
freedom but based on conditions out of as
many as possible social and cultural felds.
Christian Kieckens,
professor Design Sciences University of Antwerp,
ADSL coordinator -
Right
Poles 07,
The Japan Series,
Andreas Gefeller 2010
[ ]
In his book Aesthetics and Architecture
Edward Winters points on Morphology of
the Folktale () by Vladimir Propp, a
Russian formalist scholar, in which the
notion of transformation is introduced.
Winters notices certain constants in the
folktales under review: that there is a
landscape, that there is a setting, that there
are characters and so forth. However, in
the individual folktale these constants
undergo a transformation so that in this
tale the character wears this form of dress,
the setting is in this house within a
particular landscape and so on. In short,
Winters notices a unifying structure in the
tales and see that this structure is
transformed in each particular tale by its
local character.
Edward Winters, Aesthetics and Architecture,
Continuum, , page
As a word transformer is widely known,
but as an object it is always understood in a
diferent way regarding the proper
entourage. For some people it is the title of
the Lou Reed album from while for
the youngest it is the mechanical plastic toy
by which strange person can be trans-
formed into mechanic object. In the
architectural world it is related to the
project Rem Koolhaas developed for
Prada; for the technical persons it stands
for the box that transforms high voltage
electric energy out of the plant into
domestic power supplies, still visually
present in the American and Japanese
urban context.
As there is a so-called unifying meaning in
the idea of transformer, we can argue that
even by relating it into the world of
architecture, a physical as well a mental or
psychological concept can be given.
While today debate and critics are
becoming very important in design
processes, from the regional and the
generic to the original versus the reference,
it becomes interesting to fll in the
contemporary needs for new concepts
creating other subject-object relations in
each project.
ADSL will explore the references on
the theme of Transformer and aims to
investigate the power of a variety of
images and thoughts in landscape,
architecture, engineering, interior design,
monument care, through a poetic and
personal intuition in order to reach beyond
the specifc discipline.
TRANSFORMER
LECTURE
[ ]
L #01
IMAGINATION,
TRANSFORMATION
AND PLACE
[ ]
INTRODUCTION
Mark Pimlott (Montral, ) is an
artist and architectural designer. Trained
both as an architect and a visual artist, he
works within and across the disciplines of
art and architecture, and uses his interpre-
tations of both to infuence the making of
each. His art takes the forms of photogra-
phy, video, installation and permanent
additions to existing places. His commis-
sions for art for private interiors and the
public realm come from individual clients,
commissioning agencies, art foundations
and institutions, private and public
corporations. His individual eforts and his
collaborations with numerous renowned
architectural frms yield strategies and
designs for both private interiors and the
public realm. He is a graduate of McGill
University, Montral (); the Architec-
tural Association, London (); and
Goldsmiths College, University of London
(). Public art works include
Guinguette, Birmingham (); La scala,
Aberystwyth (); and World, London
(-). His interior projects include
Neckinger Mills, London (); Red
House, London (; ); and
restaurant Puck & Pip, Te Hague ().
He has exhibited his work in installation,
photography and flm widely. Solo
exhibitions include Studiolo (/),
(/) and All things pass
(/). His installation Piazzasalone
(in collaboration with Tony Fretton) was
exhibited at the th international biennale
of architecture, Venezia (). Mark
Pimlott has taught architecture and visual
arts since . He was appointed
Professor in relation to practice in
Architecture at TUDelf, the Netherlands
(-), where is currently Assistant
Professor in Architectural design/interior.
His articles and essays have been published
in numerous journals of architecture. His
book Without and within: essays on
territory and the interior, was published in
July . A book of photo graphs,
Inpassing, was published in .
[ ]
LECTURE
Te word transformer as a metaphor
suggests an agency through whose action
an entity or force is changed into some-
thing else: transformed. As artists or
designers, we might think of the act of
making being like this. A place, for
example, is made by ascribing signifcance
to a fragment of the world, an act that can
be efected by either a society or by an
individual. Ancient Roman settlements
were made according to a ritual that
consisted of the selection of a territory for
appraisal of its qualities by an augur. If all
had augured well, a sequence of acts
followed, determining the space of the city,
or templum; the setting out of its major
axes, the cardo and the decumanus, the
survey of the site and the setting out of its
major buildings, the layout of all the streets
by the agrimensor, and fnally, the making
of its boundaries and gates.
Joseph Rykwert, Te Idea of a Town.
(Princeton University Press: Princeton NJ, )
Te last of these acts distinguished the
space of the city from that of the rest of the
world; the foundation of the city walls,
with a plough shared by a cow and an ox,
constituted a sort of pact between the city
and the earth, transforming a fragment of
the world into a place with a name.
Such an act is characterised by its necessity.
Making art or architecture is similarly a
necessary act, but one borne of desire
rather than utility. I would suggest that
even the making of a city such as I have
described is a matter of desire. Before any
tools are raised, people interpret, imagine
and, inevitably, represent the world before
them. I am interested in how we confront
the world and how we make it; how the
world is encountered and interpreted; how
it comes to be translated, represented and
transformed.
Tere are few opportunities to see how this
happens in the present. Te world is largely
known; we understand that when we
encounter those parts that are unknown or
beyond our sight, we are infringing upon
the space of others. Tis condition held
true for the founding of the frst European
settlements in North America, which
proceeded, at frst, by the application of
domestic urban models applied directly, if
inappropriately, to conditions as they
presented themselves. Later, abstract
techniques were deployed, projected over
territories considered as tabula rasa. Te
frst strategies preserved the distinction
between the world within and the world
without that been forever germane to the
making of settlements. A view of the
settlement of Savannah, Georgia () in
the American colonies, presents the frst
method clearly: the settlement exists in a
clearing, surrounded by the dark forest, the
domain of the other, the unknown, and
danger. In this situation, the colonising Self
considers himself surrounded by the
Other: the clearing distances him from the
moment of confrontation, of meeting.
Te latter strategies efectively liquidated
the distinction between the two
conditions. Recent sightings of new
un-contacted tribes in the Amazon have
reminded us of that period from the
ffeenth through the nineteenth century
when Europeans breached the American
space; of the projection of their desire, the
genocide of indigenous populations that
ensued and its shameful legacy. In the case
of the United States, its space was usurped
by a machine of territorialisation: the Land
Ordinance of , devised by Tomas
Jeferson, cast a conceptual grid over the
entire continental interior, rendering lands
unseen and their occupants subject to an
unavoidable system of division, occupation
and destructive transformation. Te
Ordinance made it possible to command
and occupy space without ever laying eyes
upon it. Te system was indiferent to
conditions: neither topography nor
demography would interfere with its logic.
Te other did not exist in this system,
which ignored and annihilated the other.
Tis conceptual and pragmatic device a
non-hierarchical, fragementary system of
antagonistic adjacencies overwhelmed the
North American space. An infnite space
shared by Man and nature was replaced by
a system in which the Western invader was
made to feel entitled to a parcel of land
mapped out within a grid, upon a promise
of self-realisation could be fulflled.
In the s, the American West was
pictured for the purpose of military,
geological and railroad surveys as a new
Eden; propaganda declared that it was
Americas Manifest Destiny to subjugate
the continental interior: to occupy, master,
and control it. Te photographers working
on the Great Surveys confronted a space
that was strange to them, and hostile. Tey
were impressed by the vastness of the
space and its measure of time, and they
made views that attempted to describe it.
Tey photographed its indigenous people,
both nomadic and settled, who had lived
there tens of thousands of years. We know
now that the photographers such as
Timothy OSullivan and Carleton
Watkins felt ambivalent about their part
in the project of Manifest Destiny. Te
West was about to be torn apart: exploited
for its geological resources; traversed by
railways so that those resources could be
Right
Shadow of Buzz
Aldrins helmet
NASA, 1969
transported to the growing cities; and
militarised so that indigenous peoples were
cleared, ensuring the promise of occupa-
tion for European Americans. Te
photographers views of the West were
used as propaganda for investors and
possible pioneers in the East, but there was
another authority to these photographs:
they made the condition of a primary
encounter with the World and the Other
frst visible and palpable: that moment
when one stands at the threshold of that
which does not know, and touch it. It is a
transformative act, a risky act: the
boundaries of the self might dissolve; the
self might lose itself in the World. Te
attitude of photographers such as
OSullivan and Watkins involved move-
ment toward the subject, and a loosening
of ties with the self, so that in the picture,
the specifc nature of the subject is
transformed, rendered visible, made
present.
Possibilities of primary encounters with a
profound unknown were revived through-
out the progress of the Apollo space
missions in the s. Tere were several
positive outcomes to the missions: the
most surprising, perhaps was the rediscov-
ery of the Earth from space. As astronauts
few around the far side of the Moon, the
Earth disappeared and then reappeared, as
Earthrise. Tis vision of Earth familiar,
a blue orb laced with a delicate veil of
clouds threw us back on ourselves, and
made us want to know the Earth again as
some sort of great Being, to revive our
sympathy for our planet and all mankind
upon it. Tis utopian sentiment seems
almost impossible to imagine now. As for
this other world, the Moon, the pictorial
documentation from above, and in and
around the six Apollo landing sites echoed
the experience of the photographers of the
spaces of the American West precisely a
century before. Tey found themselves
alone on another world, contemplating
great dimensions, beginnings, and the
contingency of everything; the fragility of
the Earth and the fate of Mankind.
For all Mankind documentary flm, minutes;
Al Reinert, director and producer ()
I was a child in those days, living in a tract
house in a suburb of Montral, a city of
about three million people that was the
centre of a network of trade spread across
the entire continent until the midnine-
teenth century. Our house was about
metres from the motorway that ran east
and west from the Atlantic Ocean to the
Pacifc; the trans-continental train line ran
parallel to it; the international airport was
just a couple of kilometres to the east, and
the city centre downtown was a few
kilometres further east. Te city was
undergoing tremendous transformation in
the s, hauled into hyper-modernity by
a radical plan to create a multidimensional,
megastructural downtown core; the
construction of a complete network of
urban motorways, many of them aerial
(described by the mayor as necessary as a
circulation system is to the human body);
the building of an underground mass
transit system; and fnally, the making of a
Universal Exposition of the frst rank, an
ideal city of utopian architecture set on
artifcial islands created in the middle of
the mighty St-Lawrence River, which set
the scene for the whole city. In , my
parents arranged to have the driveway of
their suburban tract house repaired. A
clearing was made, and four wooden
stakes were hammered into the ground;
string was tied between them to form a
sacred rectangular clearing of gravel. My
mother had just taken me to visit the
Tutankhamun exhibition at the Muse des
Beaux-Arts, and I took the catalogue out to
the clearing to read about the politics of
Egypts Eighteenth Dynasty in the
Fourteenth-century B.C., and to look at the
mystical canopic chests that were to have
stored the kings internal remains. Sitting
in the middle of that space, and looking
around at the neighbourhood, the passing
cars and trains and planes, I was suddenly
and acutely aware of the place I was in
being one place of many places, and that it
was connected literally and in my
consciousness to all other places and all
other times. I understood myself to be in a
location that was at once specifc, and at
the same time a place with intimations,
suggestions, and evocations of other places,
the World and the cosmos: a conceptual
settlement of almost infnite dimensions. It
was a revelation, a moment of conscious-
ness of continuity, the contingency of
everything. Tus, this clearing in the
banlieue was transformed into a fragment
of All through acts of interpretation (or
misinterpretation) and imagination. I was,
as yet, unaware of Marshall McLuhans idea
of the global village.
A little later and perhaps under the
received infuence of the mediagenic
McLuhan it was natural that I should
regard the products of the time, regardless
of their purpose, to be kindred articula-
tions of the state of mind of the epoch:
Minimal Art could be seen alongside fling
cabinets, ofce partitions, ofce buildings,
or mass-produced tract houses, as
poignantly described by Dan Graham in
his piece Homes for America.
Dan Graham, Homes for America Arts Magazine,
winter /
Later, it was pointed out to me that this
was a misinterpretation of Minimal Art,
whose intent was to efect a direct and
specifc relationship between the viewer
and an object in space, and not to allude to
other things at all. My reading, therefore,
was a misreading or misinterpretation; and
it seems that this order of error permeated
my reading of the city and its spaces, too.
Habitually, I took one thing for being
something else. Yet this is the premise of
representation: one takes something for
being something else, in an act of belief.
Like trans-substantiation, it is a transform-
ative act. Te fundamental stories or
origins of representation reveal moments
of disruptive power: the outline of a
shadow of a departing lover traced on a
rock bears his life until he returns;
Narcissus looks at his refection in a pool
and thinks that it is another returning his
loving gaze. In more modern refections,
Shakespeare, in Te Winters Tale (),
describes the perfect sculpture of a beloved
woman thought lost and dead, a likeness
that fnally crosses the threshold from
representation to life, with great emotional
efect. All of the protagonists of these tales
got it wrong, quite correctly.
It is quite correct to take things and places,
or more precisely, their appearances, to be
representations. Te appearances of things
and places are outward resolutions of their
intentions, and like all such undertakings,
are compromised by shortcomings,
interference or imperfection. Tink of how
one makes work, or even a photograph,
and the object or image does not precisely
resemble what one had in mind. Tink of
how normal objects assume slightly
diferent appearances in diferent
countries, despite fulflling precisely the
same tasks. For diferences to disappear, an
orthodoxy an International movement
of the normal must be enforced.
Perfection has no movement: it ofers
stasis. Appearances, as representations,
reveal desire, hope and failure. Representa-
tions tell us what we want to say and who
we want to be. Representations are
utterances; in making the whole world, we
speak our thoughts, ofen poorly,
occasionally touchingly, with great beauty.
Our towns and their buildings and places
assume appearances diferently, depending
on where they are: they represent the way
things are done and thought about in those
places; their conventions, nuances and
fashions; their fantasies of other times and
other places. Oscar Wilde said, To me,
beauty is the wonder of wonders it is
only shallow people who do not judge by
appearances. It is right to acknowledge
representation, and do precisely what it
asks of us: to fnd the life within it.
Michelangelo Pistoletto made art in the
s such as his Mirror paintings, or
the Oggetti in meno (Minus objects) that
suggested that the movement toward and
through representation was necessary: it
was the movement of self to other, and its
symbol was the passage through the
mirror. Once inside the looking glass, one
might engage with others and representa-
tions and transform them and the world
of representations according to ones
desire.
Tis is the attitude I emulate as I make
pictures and consider the nature of places,
as I make objects and scenes and settings. I
think of this work as making clearings for
consciousness. I accept representation and
its necessity; I accept representation as the
vehicle to understand the World. I want to
make pictures and places as vehicles, or
frameworks or platforms through which
people become more conscious of
themselves and others and of their place in
the World. I want to make specifc places
that are both here and elsewhere, whose
specifc nature is in the here and now,
but necessarily contain ideas of
other places, other people and other times.
Te issue of my work is the recovery of the
World for the individuals imagination; its
object is consciousness, transformation
and freedom. Te work I make contrives
its own, new, clearings in which both the
work and its context appear as pictures of
themselves: as pure representations. One
fnds oneself at once in a real place and
within the space of representation: it is a
space in which everything can be
transformed.
Right
Mirror painting
Michelangelo Pistoletto
1961
Studiolo
In Studiolo, an installation I made in an art
gallery in , everything could be
described as an art object, whether it was a
painting, a sculpture, a photograph or a
room. However, each object was incom-
plete, in that each was dependent on
adjacent objects or the gallery itself for its
existence. Each object was a version of or a
substitute for something else. A black and
white painting resembled a silvery surface
of the same size on an adjacent wall that
suggested an opening into another,
shimmering but uncertain, world. Another
sculpture looked like a wall under
construction, but was made like a painting,
with a stretcher. A large photograph right
next to it apparently pictured it, and what
appeared to be the arrangement of rooms
of the gallery itself, while they were under
construction (it was in fact a photograph of
another, generic, gallery). A sculpture on
the foor resembled a picture or painting of
a Minimal sculpture and at the same time,
the arrangement of foor tiles of the gallery
upon which it rested. In another room,
every profle was drawn over with black
lines, so that the room was simultaneously
a drawing and picture of itself.
Te gallery, typically proposed as an ideal
space, was, also, a representation. Each
artefact and situation was, therefore, a
picture of itself and something else: the
viewer was inside a picture whose elements
were contingent, unstable and mutable.
Te viewer was immersed in this environ-
ment of representation, and could become
continuous with its artifce.
Right
Art from Studiolo
1995
photograph
Peter White/FXP
Photographs
In making photographs and flms, I
recognise that things and places are both
what they are and what they are not; that
in being tools or gestures or accommoda-
tions or arrangements, things and places
embody ideas. Tey are subject to the
characteristics of representation, and so
bear both the aspirations and failures
germane to representation. Making
pictures requires a certain order of
attention; one must be alert. One must be
aware of the predilections and predetermi-
nations of ones own character, knowledge
and fantasy. In making pictures, as in
making places, one is obliged paradoxi-
cally to be at once as open and as
knowing as possible.
In making photographs, I have been
looking for a very long time to fnd a place
that I recognise completely, a place where
the World appears. I have been looking
endlessly for and making pictures of
something that is completely indetermi-
nate: clearings for consciousness. People
have said that my photographs make
everywhere look like one place, and to
some extent this is true: although the
places I picture have their own specifc
ways of imagining themselves and
therefore of making their appearance in
the World, they ofen make themselves
with the image and fantasies of other
places in their minds. Te imagination of
a place its genius loci is defned by
what it (the place, its people) knows, what
it cannot know (the unknowable, the
other) and what it wishes for. When one
can see the World as it reveals its imagina-
tion, even momentarily, then the business
of language and representation is dis-
pensed with; one has arrived at the centre
of things, where there is an intimate,
continuous relation with the World, where
there is no diference between the self and
the other. All places become one, great
place.
Top
Praha CZ 1990
photograph
Mark Pimlott
Bottom
dz PL 1994
photograph
Mark Pimlott

Places
In projects for places, I have tried to
understand the fctions from which these
places have sprung and that have struc-
tured their existence at some time in the
past or the present. By proposing simple
but precise additions or modest alterations
of existing conditions, I have wanted the
present (and we who live in it) to be
reconciled with these fctions and the past.
In all these projects, interventions are
contrived as thresholds or frameworks so
that a kind of meeting between people and
the city can take place, where the city is
presented as something to be consciously
seen, as something consciously assembled.
I hope that my additions clarify or even
re-invent the structures of the city in
situations where it is its most vulnerable.
Te interventions, of course, become part
of the city, and disappear.
Right
Volgograd Coventry
1999
/ Place Jacques-Cartier
Tis project, made in collaboration with
Tony Fretton in , proposed a monu-
mental surface for Vieux-Montrals Place
Jacques- Cartier, an important urban space
that had been sacrifced to the efects of
tourism. Te surface was shaped so that it
would resemble the streets and uncon-
scious places typical of the citys topogra-
phy. Te ground was conceived as a
portion of the granite land mass or shield
that the city is built on, whose form
emerges inadvertently in the profles of
streets and empty parking lots in the city: a
psychic landscape that people experience
every day but rarely acknowledge
consciously. Te surface sloped down from
the Htel de Ville to the Vieux-Port, flling
the entire space available between
buildings, like some granite glacier.
Because of its exaggerated profle, views
across the square were partly obscured. It
was our intention that the continental
topography, untamed, had reappeared in
the midst of this city won from the
wilderness. Adjacent to our geological
incident was a vacant lot, which was also
opposite the neo-Baroque Htel de Ville: we
intended this space to be planted with wild
grasses and overrun with fowers and local
wildlife. Beneath this feld and the granite
surface, we proposed an enormous
underground car park, in which the
foundations of buildings positioned above
were visible and re-clad, like monuments,
in marble. Te ruins of an ancient chteau
covered by the present-day square were
also exposed to view and to use cars
could park right next to it and the
gathered ensemble of true and ersatz
monumental forms were specially
illuminated (very much in the manner of
the foundations of the ancient Louvre) in
order to confuse the high- and low- cul-
tural spaces of Montreals ville intrieure.
/ To other places, Volgograd
In two unexecuted projects for Coventry
made in , To other places and Volgo-
grad, I wanted to re-evaluate the utopian
constructions of the s and s, and
reconcile their positive origins with the
negative and dismissive associations that
they had accumulated. Here, the motorway
was to be inscribed with a motto To
other places. Te fyover became, briefy, a
monumental bridge, instructing passersby
those distant, destroyed cities that
Coventry was twinned with. Te motto
also functioned precisely like a motorway
sign, dumbly pointing to the myriad
destinations that the fyover indeed served.
Under the fyover, a restored s concrete
park (designed by Soviet architects as the
cities of Coventry and Volgograd for-
merly Stalingrad were twinned) was to
become a fantastic landscape, experienced
by the passerby as though from an
airplane. Its various mounds would suggest
hills studded with little lights to call to
mind villages illuminated at night. Other
mounds sprouted fountains, which, with
coloured light, would become, for a
moment at least, volcanoes.
/ Guinguette
Tis project for Birmingham transformed
an unwanted part of the city again,
under an inner city motorway fyover
into a pleasure garden, or Guinguette, akin
to those which existed outside the walls
and legislative structures of Paris at the end
of the nineteenth century. It was inspired
by the marginal character of the site, its
specifc, albeit generic, topography and its
relation to a tiny fragment of urban nature,
which for a moment made one believe
while looking under the fyover, that one
could leave the city and fnd somewhere to
wander. Te fyover provided a shelter
from the rain, and directly beneath it, the
little patch of land visible from a distance
assumed an even greater importance. I
strung a loose network of lights under the
concrete structure, so that it was festooned
for a festive occasion. Patches of light
projected onto the ground suggested
pathways and areas of dappled sunlight in
glades of trees.
/ La scala
Tis work emerged in the context of a
visual arts competition for a permanent
artwork for a university campus plaza in
Aberystwyth, Wales, on the west coast of
Britain, next to the Irish Sea. Te plaza,
which is in public use, is high above the
town, overlooking the landscape and the
sea. It was designed in the late-s in a
Brutalist style, executed in pre-cast and in
situ concrete. Everyone knew the plaza as
the Piazza. Te architects drawings
described it as such, and people took it to
be so. It was surrounded by a number of
the Universitys quasi-civic buildings: the
Arts Centre, Library and Student Union.
An exhaust tower for the main boiler room
situated beneath the Union building
standing on the piazza was known as the
Campanile. A ten-metre wide staircase
pierces the piazzas surface, descending to
the rest of the University campus and the
town below. Te appearance of the
ensemble was forlorn: very few people had
stopped to enact the civic life that the
architects and the heads of the University
had envisaged and hoped for. Nevertheless,
people stood or sat at the open side of the
Piazza to look at the town and the sea, and
there is a heroic as well as a civic character
to the original architecture.
I proposed a monumental object on the
Piazza that would act as a partner and a
foil its existing components. It is a great,
isolated staircase, detached from all other
structures, ten metres on each side and six
metres high. Loosely angled towards the
sea, it provides a series of terraces upon
which students, staf and visitors (it is a
public rather than exclusively academic
place) can sit, sunbathe, talk and look at
the view. During summer months, the
staircase is used as an outdoor auditorium
for a variety of performances. Visually, it is
connected to the foyers of the Arts Centre
building; the Student Union building uses
its sheltered space as a loggia for eating and
drinking. Arriving at the Piazza from
above, the stair forms a monumental
partnership with the Campanile, and
appears as a strange object, at once
monumental and tenuous, mute and
transient. Arriving from below, the stair
looms above the Piazza, its great steps
appearing to climb to the sky.
I called the staircase La scala in deference
to the entire ensemble, and to participate
in those conscious evocations of else-
wheres that informed the making of this
part of the campus. Te piazza was
intended to be a great platform for
observing the World, ennobled by
buildings for thought, entertainment and
sociability. Te architects used the imagery
of the classical world and the Italian
Renaissance to excite a sense of nobility to
those studying at this place at the edge of
the World (or at the edge of Britain, at
least). I wanted this idea an existing
idea to become visible and vivid again,
and real. From the piazza, whose monu-
mentality is revived, one climbs the stair in
an earnest efort to be closer to the sky and
to be high above the earth. I wanted people
to feel as though they were suspended in
the air, poised above the World, as noble
or as divine as the architecture and
landscape around them.
/ World
Tis is a public square, proposed as a
permanent work of art for the BBC, in the
centre of London, called World. It connects
the buildings of the BBCs expanded
Broadcasting House to each other and to
the city around them. Te project is
complete, yet access to the site is not
possible until next year, . People can
stand on it and walk over it, like any other
pavement in the city. Its surface describes
an imaginary fragment of the globe,
marked with lines of longitude and latitude
and the names of hundreds of places.
Lights scattered across its surface suggest
the habitats of Man as they might be seen
from high above, or the stars of the Milky
Way in a fight of ones imagination. Voices
whisper in diferent languages from the
ground, drawn from foreign language
broadcasts of the World Service.
Names of places have been chosen based
on things I remembered over the years,
picked up along the way. All sorts of places
are there, and each evokes all sorts of
things: capitol cities, great rivers, sites of
catastrophes, resorts, the origins of Man,
even myths. As one walks across the
surface, it is inevitable that they are read.
Te names and the sounds they create as
they are read together create the possibility
of a poetic litany that rouses myriad
either vivid or disruptive associa-
tions and images.
Inspired by fying over the earth at night
and listening to late-night broadcasts, the
entire square as it is seen, heard and felt is
intended to evoke the mystery of else-
where; another world, familiar, distant,
strange: our great dwelling.
In making World, I thought, again, about
the second astronaut to walk on the Moon,
Buzz Aldrin. He spoke of fying in orbit
over the Earth at night, and looking down
to see the fres of nomads scattered across
the desert, imagining them under the stars
in whose midst he was suspended. Tis
image of the Earth as the home of Man
provoked profound empathy in him.
For all Mankind op.cit.
Te continuity, the unity of Man and the
World in its entirety was clear to him.
Perhaps it is this consciousness that is the
great transformer we should seek.
/ Piazzasalone
To end, I will describe briefy the installa-
tion I made in collaboration with Tony
Fretton at the last architecture Biennale in
Venice, in the Arsenale, called Piazzasa-
lone. We assembled objects and spaces that
we had worked with for a long time,
drawing on our own built works, and
re-presenting them as fgures of a place
whose character was at once urban and
interior, a complex of places where people
could meet and be conscious of themselves
and their relations to other people, places
and times.
Te character of the place subtly shifed
from the urban to the domestic through
the placement and relations between
representational objects. Teir play evoked
a small, monumental piazza, and a salone
grande, redolent of Venetian palazzi. Ones
point of arrival afected ones idea of where
one was and what things were. From the
main entrance, the viewer frst encoun-
tered a street scene festooned with lights
(Festoon, ). A car (Alfa Romeo GT
Junior, ), its interior an empty lounge,
was parked in front of a loggia or
monumental staircase (La scala, ).
Caught in the cars headlights, a great pile
stood in an opposite corner, as though a
building viewed from a distance (Lisson
Ghost, ). Te place was at frst like a
piazza, though the presence of objects of
inconsistent scale lent it an increasingly
ambiguous character as one moved
through it and the installation.
In one instance, Lisson Ghost reverted to
being a simple rack of shelves, and the
piazza briefy assumed the guise of a
chapel, La scala became a baldacchino,
infected by a diminutive, archaic basin
(Font, ) caught in a beam of light. Its
tiny pool cast shimmering light high onto
the walls, reminiscent of the play of light
from the lagoon. Tall, empty painting
stretchers stacked on top of each other in
another corner sketched a succession of
illusory interiors, a trompe loeil enflade of
unmade pictures (Trompe loeil, ).
Standing next to them was what appeared
to be a large, empty bookcase that looked
like a building (Tietgens Ghost, ).
One carried on: the space was now a room,
a private interior. An image of the dense
foliage of trees, their branches swaying
slightly in the wind fickered on the wall,
suggesting a window to another place
(Trees, ). A pale object stood nearby,
its volumes empty, apparently looking at
this image, waiting (Red House Ghost,
). A desk sitting in a pool of its own
light (Architecture as Performing Art desk,
/) was an intimate refuge turned
to the wall. Next to the desk, another
opening refected the viewer, and pictured
him to himself, situating him within the
places through which he has moved
(Mirror, ).
On leaving the installation, the viewer
turned, and looked past the furniture to
the waiting city, through La scala to all the
players of the scene, before returning to
where he began: to its lights, its movement,
its fantasy.
Right
Piazzasalone Venezia
2011
photographs
Christian Richters
[ ]
CHANCE
L #02
[ ]
INTRODUCTION
Anne Holtrop (, Te Netherlands)
studied architecture at the Academy of
Architecture in Amsterdam from to
. Afer graduation, and still resident in
Amsterdam, Holtrop set up his own
practice, being twice awarded grants from
the Netherlands Foundation for Visual
Arts, Design and Architecture, known in
the Netherlands as Fonds BKVB, as well as
receiving the Charlotte Khler Prize for
Architecture from the Prince Bernhard
Cultural Foundation in . In he
joined an artist in residence in Tokyo and
in in Seoul. He is a lecturer and
external critic at various art and architec-
ture schools and is editor of OASE, an
independent architectural journal for
architecture. His work is exhibited in the
Nouveau Muse Nationale de Monaco
(MC), Gemeentemuseum Te Hague
(NL), Ludwig Forum Aachen (D), NAI
Rotterdam (NL), Museum De Paviljoens
(NL) and Tokyo Wonder Site (JP).
[ ]
LECTURE
Top
Museum Fort Vechten
Utrecht (NL)
Bottom left
Temporary Museum
Heemskerk (NL)
Bottom right
Reverse Process of
Mountain Digging
Troughout history many cultures have
seen chance as having a sacred and magical
power. Greek mythology, for example, tells
us how Tuch, the goddess of chance, is
superior in her say about peoples fates to
that of all other gods. Working with chance
interests me specifcally in architecture
opposed to either logic and ratio as you
have in modernism or beauty and mimesis
as you have in traditionalism. With using
chance the possible becomes apparent in
the sense of what is merely conceivable, the
idea that all things can be perceived and
conceived diferently.
[ ]
A CITY IS
(NOT) A TREE
L #03
[ ]
INTRODUCTION
Cino Zucchi was born in Milano in
; he graduated at M.I.T. in and at
the Politecnico di Milano in , where he
is currently Chair Professor of Architec-
tural and Urban Design. He has taught
architecture at many international
seminars and has been visiting professor at
Syracuse University and at ETH in Zrich.
Together with Cino Zucchi Architetti, he
designed and realized many industrial,
commercial, residential and public
buildings, a number of projects for public
spaces, master plans and renewals of
industrial and historical areas. Major
works of CZA include the urban design of
the former Junghans factory site in Venice,
the master plan for the Keski Pasila area in
Helsinki, residential and ofce buildings
for the former Alfa Romeo-Portello area in
Milano, the new headquarters of Salewa in
Bozen, Lavazza in Turin, and Group M in
Assago, and the extension and renovation
of the Turin National Car Museum which
was recently awarded with the Inarch/
Ance prize. Te projects of the studio
have been published in books and
magazines worldwide.
[ ]
LECTURE
Top
San Don
Cino Zucchi Architetti
Bottom
Salewa Headquarters
Cino Zucchi Architetti
Te geological and biological metaphors
recurring in contemporary urban theory
seem to hide the fear we are not able to
produce environments with the second
nature feeling of traditional cities, which
today we can only reproduce as commer-
cial caricatures.
Te landscape of the new world cannot be
but a strange mixture of man-made and
natural environments in a symbiotic
relationship; we have to reconsider our
design behaviours, grafing new spaces
on the existing ones rather than dreaming
of a brave new world.
Our city is not a tree, and for this reason we can
understand it. Te beauty of the city is multiple,
fallacious, occasional; but when it occurs, it
overcomes the one of nature, it comforts us in
its absence of perfection.
[ ]
CRAFTSMANSHIP
TRANSFORMED
L #04
[ ]
INTRODUCTION
Irene Curulli is assistant professor in
architectural design at the University of
Technology Eindhoven, Te Netherlands.
At the Tu/e she is also carrying out a
research on the topic of transformation of
industrial waterfronts along the canal
zones of the Brabant region, Te Nether-
lands.
Irene Curulli taught at Cornell University,
USA where she also researched into
wastelands. As expertise on this topic she
was jury member at Harvard University
and at University of Pennsylvania; and
lectured at University of Berkeley.
In she organised the international
Conference Urban Wastelands at the
University of Technology Eindhoven.
As a correspondent for the magazine
Space & Society Irene Curulli has written
several articles on Dutch architecture.
She acquired her post-graduate Master in
Architecture at Te Berlage Institute
Amsterdam and then the Ph.D title from
Naples University, Italy.
Since she has run her Amsterdam-
based ofce.
[ ]
LECTURE
Top
Clay tablet
Bottom
Detail facade
Espressofabriek,
Westergasfabriek
Crafsmanship is the skill aiming at the
design and creation of artefacts requiring a
high degree of tacit knowledge as well as a
highly technical and specialized equipment
for their production. Crafsmanship is
based on manual work, and therefore the
results cannot be other than unique
products. Tese characteristics can be
found in the architectural expressions of
old industrial buildings/boxes, where the
crafing of their details show a poetics of
materials and the technologies used, which
go beyond the mere ornament or the
aesthetics. On the contrary, contemporary
boxes (retail buildings, storage spaces,
department stores, cinemas, etc.) made up
of prefab components and fast-track
construction produce the contemporary
image of the envelope, made of the
cladding and its frame. Tis reinforces the
idea of surface disconnected from the
interior of the building and apparently
denies any form of crafsmanship.
Contemporary boxes are mostly regarded
as anonymous standardized products. As a
matter of fact, there exists a synergy
between old crafing of factories and new
trends in crafing contemporary exteriors
of buildings. Crafsmanship acts as bridge
between design principles and construc-
tion techniques of such an apparent
contradiction. Indeed, crafsmanship
transforms and shows continuity in the
technological process. Trough diferent
techniques and the use of the knowledge of
architectural tradition, it experiments with
the possibilities of architecture to evoke
and narrate. Terefore, it becomes the
transforming device generating new
ornaments in architectural design.
[ ]
TRANSFORMING
THE PAST INTO
HERITAGE
L #05
[ ]
INTRODUCTION
Gregory Ashworth was educated at
the Universities of Cambridge, Reading
and London (PhD.). He has taught at
Universities of Wales, Portsmouth and
since Groningen. Since ,he is
Professor of heritage management and
urban tourism in the Department of
Planning, Faculty of Spatial Sciences,
University of Groningen (NL). His main
research interests include tourism, heritage
and place marketing, largely in an urban
context. Author of around books,
book chapters, articles. Honorary life
member, Hungarian Geographical Society
; Honorary doctorate University of
Brighton . Knighted for services to
Dutch Science .
[ ]
LECTURE
Top
Phnom Bakheng
Temple, Cambodia
Bottom
Normanton Church
United Kingdom
Te past, by defnition, is gone: it is not
here to be re-lived or experienced and it
cannot be inherited, preserved or
bequeathed. It can however be imagined
by the present. Heritage is a contemporary
creation brought into being by the present
to serve the political, social, economic and
psychological needs of individuals and
collectivities. As a product of the human
imagination, it is ubiquitous, infnite and
mutable as succeeding presents create and
re-create the pasts they require at that time.
Tis presentation, focusing upon the built
environment, will examine how and why
the present transforms the past into
heritages and ascribes contemporary value
to structures and sites. As heritage is
necessarily selective, and choice implies
non-choice, then the creation of collective
heritage becomes a political decision but as
heritage is also inevitably plural and
contested then management becomes
essential.
[ ]
OBJECTS AND
TERRITORIES
L #06
[ ]
INTRODUCTION
Andrea Branzi (Florence, ) is a
designer, architect, theorist, lecturer,
publisher and creator of exhibitions who is
based in Milan. In his early years he played
a leading part in the development of the
radical Italian architecture scene that
thoroughly reshaped design and architec-
tural history as from the sixties. He was
one of the founding members of the
Archizoom group, which between
and organised numerous experimen-
tal activities in the form of manifestoes,
installations and happenings. From the
seventies onwards he concentrated on the
more theoretical issues of the new Italian
design. He published many articles on this
subject in such periodicals as Casabella,
Modo, Domus, Interni, LUnita and
Terrazo, and continues to do so today. As a
lecturer and co-founder of the Domus
Academy, in the eighties and nineties he
had a powerful infuence on several
generations of designers. He has an
impressive number of innovative ideas and
creations to his name, and has been a
regular presence at such international
events as the Milan design triennale, the
Venice architectural biennales and
Documenta in Kassel for more than forty
years. Either as a coordinator or curator, or
represented by his work.
[ ]
LECTURE
Top
PHO_Design
Ph#ACE7AB
Bottom left
PHO_Design
vo#ACE084
Bottom right
PHO_Design
vo#ACE085
Andrea Branzi. Objects and Territories is
not a retrospective. It focuses on the
necessity of authenticity in design and
looks at the changing position of architec-
ture and architects in the social order.
Branzis theoretical thinking and his
creations are still based on the demystifca-
tion of modernist ideology. He considers
that design and architecture always
embrace material and immaterial aspects.
His career illustrates not only his critical
thinking, activism and intellectual
engagement, but also his opposition to
over-consumption and the empty system
of stardom in architecture.
Te exhibition consists on the one hand of
written material, models and a flm that
look explicitly at architecture: No Stop
City (), the New Chartres of Athens
() etc. Tis is encircled by designs for
various utility objects: Trees (),
Animale Domestici () etc., in which
an innovative use of materials is combined
with natural elements such as tree trunks
and water. But it also includes non-applied
work in which Branzi confronts death. Te
various installations all carry the same
fundamental critique: objects and
architecture are not pure utility objects
born out of technology and consumer
marketing, but should provide an answer
to mans real contemporary needs. Tis
thematic exhibition shows the new
relationship between design and what
Branzi calls the anthropological themes,
such as history, nature, life, love, the
sacred, death, etc.
As a supplement to this exhibition,
students from the Technical University of
Delf (NL) will in a small-scale presenta-
tion be showing the position of such
radical architectural groupings as
Archizoom, Superstudio and the neo-
rationalists against the background of
postwar socio-political movements in Italy
in the sixties, seventies and eighties.
WORKSHOP
[ ]
RUINS
W #01
[ ]
INTRODUCTION
ADSL 2012 [TRANSFORMER] 71 70 ADSL 2012 [TRANSFORMER]
Alexander Bartscher is an architect
based in Aachen. Together with his wife
Elisabeth Bartscher he founded the studio
PONNIE Architecture/Images, focussing
on architectural visualisation in ...
Afer having studied at RWTH Aachen
and ETH Zurich, he worked for Herzog &
de Meuron in Basel.
He graduated with honours at RWTH and
received a number of awards for his
architectural works.
Since he is an assistant professor at
the Chair of Housing and Basics of Design
at RWTH Aachen.
[ ]
WORKSHOP
Top
Unfinished
facade 01
Bottom
Unfinished
facade 02
Considering time being the ultimate
transformer of everything, it is this
workshops aim to examine certain aspects
of temporality in the appearance of the city
of Antwerp. Te many obvious traces that
the process of transformation has lef on
the face of the city generate a specifc
atmosphere of a very strange quality. We
want to refect upon the many situations in
the urban fabric that for unknown reasons
appear derelict, worn down, neglected or
destroyed. Observing these sites very
carefully we will perhaps be able to fnd
hints and signs which relate to the
structures past and which allow us to dare
a process of an imaginary reconstruction.
Why have these buildings lost their right to
remain in the society of houses that form
the city? What happened here? Oscillating
between the real and the fctional we will
try to give an answer to these questions in
the form of an architectural project.
As in the year before the design work will
in frst place be driven by large scale
architectonic images that are accompanied
by precise technical drawings and a short
text.
FORGOTTEN MONASTERY
Fromut Freya Winkelmann
A stones throw away from the Scheldt
River the complex of a forgo en monastery
of Antwerp is located. Te oldest convent
in the Western World was founded in
AD. Te convent is the guardian of the
knowledge from the last , years of
human history. Every year they create a
Yearbook and one copy of the book they
keep next to thousands of other books in
their library, which you can fnd in the
highest tower of Antwerp. Te complex
consists of a big cathedral, an inner
courtyard, the sleeping cells, guest rooms,
and the rooms for study and research. Tey
are facing on one side the hidden garden.
Te library stands equal next to the church
steeple. As a guest of the convent you will
have access to this overwhelm library full
of books about architecture, art, human
history, political issues, fairytales,
Photoshop guides and other interesting
topics and ma ers of the heart. e hidden
garden can be reached from the street via a
small hidden door. If you pass by the
Saint-Paulusstreet you should have a look.
Maybe you will nd the door open. Behind
it you will discover a place of silence and re
ection, discussion, research and cultural
exchange.
FORGOTEN MONASTERY
ADSL 2012 RUINS
A stones throw away from the Scheldt River the complex of a forgoten monas-
tery of Antwerp is located. Te oldest convent in the Western World was found-
ed in 400 AD. Te convent is the guardian of the knowledge from the last 3,000
years of human history. Every year they create a Yearbook and one copy of the
book they keep next to thousands of other books in their library, which you can
fnd in the highest tower of Antwerp. Te complex consists of a big cathedral, an
inner courtyard, the sleeping cells, guest rooms, and the rooms for study and re-
search. Tey are facing on one side the hidden garden. Te library stands equal
next to the church steeple. As a guest of the convent you will have access to this
overwhelm library full of books about architecture, art, human history, political
issues, fairytales, Photoshop guides and other interesting topics and maters of
the heart. Te hidden garden can be reached from the street via a small hidden
door. If you pass by the Saint-Paulusstreet you should have a look. Maybe you
will fnd the door open. Behind it you will discover a place of silence and refec-
tion, discussion, research and cultural exchange.
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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CHECKERBOARD HOUSE
Hilke Baart
Tere are still quite a few ruins in the heart
of Antwerp. Some of them still tell you
their story of their history, like the ruin in
the Blindestraat. It was nothing but an
open place with some remainders of side
walls. Has it been one house or two? It
couldnt be fgured out. I used these
markings as the starting point for the
reconstruction. Something that really
caught my eye was the checkerboard
pattern with diferent types of stones and
colours. By the use of rectangular volumes,
this pattern got dimension and depth,
which resulted in a new building. As a
reference to its past, I used bricks in the
diferent colours as they could be seen at
the ruin.
CHECKERBOARD HOUSE
ADSL 2012 RUINS
Hilke Baart
There are still quite a few ruins in the heart of
Antwerp. Some of them still tell you their sto-
ry of their history, like the ruin in the Blindest-
raat. It was nothing but an open place with
some remainders of side walls. Has it been
one house or two? It couldnt be fgured out.
I used these markings as the starting point
for the reconstruction. Something that really
caught my eye was the checkerboard pattern
with diferent types of stones and colours. By
the use of rectangular volumes, this pattern
got dimension and depth, which resulted in a
new building. As a reference to its past, I used
bricks in the diferent colours as they could be
seen at the ruin.
HIDDEN MONASTERY
Ines Baart
As well as there are new buildings in every
city, there are also ruins. Tis also counts
for the one in the Venusstraat number .
Unfortunately, everything was demolished
here, so you could no longer fgure out
what type of building it once was or which
function it used to have. Only the height of
the facade and roof were still visible on the
side. At the front you could only see a dark
wall without windows and on top of that
there was nothing but open air. Te houses
at the lef and at the right that were still
there, were probably from the same
building period. Tis information was all I
had to go on. As a reference to the
remaining wall, I decided to keep the lower
part of my design rather closed. Tis is in
contrast with the upper part where there
are a lot of windows, through which the
light can come in. Tis entering light gives
a special sacred invasion, which suggests
that this building used to be part of a hapel
or a monastery.
HIDDEN MONASTERY
ADSL 2012 RUINS
Ines Baart
As well as there are new buildings in every city,
there are also ruins. This also counts for the
one in the Venusstraat number 46. Unfortuna-
tely, everything was demolished here, so you
could no longer fgure out what type of buil-
ding it once was or which functon it used to
have. Only the height of the facade and roof
were stll visible on the side. At the front you
could only see a dark wall without windows
and on top of that there was nothing but open
air. The houses at the lef and at the right that
were stll there, were probably from the same
building period. This informaton was all I had
to go on. As a reference to the remaining wall,
I decided to keep the lower part of my design
rather closed. This is in contrast with the upper
part where there are a lot of windows, through
which the light can come in. This entering light
gives a special sacred invasion, which suggests
that this building used to be part of a chapel or
a monastery.
PALAZZO
Jef Driesen
Along the docks in Antwerp, a salesman
decided to build his own venetian style
storehouse. A decade of fourishing
business later, he made his dream come
true; a two-storey apartment on top of the
old building was completed.
PALAZZO
ADSL 2012 RUINS
Jef Driesen
Along the docks in Antwerp, a salesman decided
to build his own venetian style storehouse. A
decade of fourishing business later, he made
his dream come true; a two-storey apartment on
top of the old building was completed.
La Torroja
Juri Jansen
La Torroja was situated in the north of
Antwerp. It once was a famous theater
because of its specif c form. Te long and
narrow shape intrigued lots of theater
directors to make the most bright pieces of
performing arts. Its brutalist architecture,
conceived in the sixties made a clear
reference to the industial buildings in its
surroundings.
La Torroja
ADSL 2012 RUINS
Juri Jansen
La Torroja was situated in the north oI Antwerp.
It once was a Iamous theater because oI its spe-
cifc Iorm. The long and narrow shape intrigued
lots oI theater directors to make the most bright
pieces oI perIorming arts. Its brutalist architec-
ture, conceived in the sixties made a clear reIe-
rence to the industial buildings in its surround-
ings.
Toll Houses and
their Catacombs
Leonard Wertgen
Te harbour is changing. Te northern city
is being transformed. Large harbour
infrastructures such as docks, industrial
buildings, markets and a few houses create
a broad and heterogene landscape. Te
majority of buildings is out of use and
derelict. Te harbour is a ruin. Between the
infrastructure buildings one might oversee
the little toll houses. Tey are small and
their appearance is carefully representative,
yet innocent... Te toll houses are small,
but there is a lot of them. Tey are
positioned at the gateways to the inner bas-
sins. Here money and goods were
collected, leading to wealth and prosperity
for the toll keepers. Of course a system for
transport and safe storage of the goods was
needed. Te toll houses are the visible part
of an invisible architecture underneath:
Each house is connected by stairs and
ramps to one huge toll catacomb. Te
catacomb is the secret space of the toll
keepers. A high vaulted volume is
surrounded by small caves for storage.
Daylight is provided by a thin seam
between the vaults.
50 m
S c h e l d e
K a t t e n d i j k d o k
Toll Houses and their Catacombs
Leonard Wertgen
ADSL 2021, RUINS
Te harbour is changing. Te northern city is being transformed. Large harbour infra-
structures such as docks, industrial buildings, markets and a few houses create a broad
and heterogene landscape. Te majority of buildings is out of use and derelict. Te
harbour is a ruin. Between the infrastructure buildings one might oversee the little toll
houses. Tey are small and their appearance is carefully representative, yet innocent...
Te toll houses are small, but there is a lot of them. Tey are positioned at the gate-
ways to the inner bassins. Here money and goods were collected, leading to wealth and
prosperity for the toll keepers. Of course a system for transport and safe storage of the
goods was needed. Te toll houses are the visible part of an invisible architecture un-
derneath: Each house is connected by stairs and ramps to one huge toll catacomb. Te
catacomb is the secret space of the toll keepers. A high vaulted volume is surrounded
by small caves for storage. Daylight is provided by a thin seam between the vaults.
Isometric overview of the harbour
Network of toll houses and storage catacombes
DOEL // ANTWERPEN
Michael Bracke
Te small port city of Doel Antwerp
is closely related to the theme of the
workshopweek: TRANSFORMER. A part
of the city Antwerp, but with its own
identity that must give way to the
extension for the port of Antwerp. In this
respect we can speak of transformation.
Te town, which now looks more like a
ghostvillage, is home for numerous ruins
and abandoned houses. Te mansion, built
in the Camermanstraat at Doel served
as a doctors house. It was one of the
impressive medical houses from the period
Antwerp ships went into quarantine at
Doel. Finally demolished in March .
Deduced from the ruins, we can imagine
that the plan and facade are relatively
symmetric designed and in many rooms of
the house multiple chimneys can be found.
In the project, that what could have been,
these two opposite elements put together.
Te rather boring symmetry of the plan
against the chaos of the chimneys and
shafs. Te building had the potential to act
as a chimney house and gave already a
reference to the port of Antwerp.
DOEL // ANTWERPEN
ADSL 2012 RUINS
MICHAEL BRACKE
The small port - city of Doel - Antwerp is closely
related to the theme of the workshopweek:
TRANSFORMER. A part of the city Antwerp,
but with its own identity that must give way to the
extension for the port of Antwerp. In this respect we
can speak of transformation. The town, which now
looks more like a ghostvillage, is home for numerous
ruins and abandoned houses. The mansion, built in
the Camermanstraat 35 at Doel served as a doctors
house. It was one of the impressive medical houses
from the period Antwerp ships went into quarantine
at Doel. Finally demolished in March 2009.
Deduced from the ruins, we can imagine that the
plan and facade are relatively symmetric designed
and in many rooms of the house multiple chimneys
can be found. In the project, that what could have
been, these two opposite elements put together.
The rather boring symmetry of the plan against
the chaos of the chimneys and shafts. The building
had the potential to act as a chimney house and
gave already a reference to the port of Antwerp.
ELEVATION // SCALE 1-50 SECTION // SCALE 1-50
PASTORIJSTRAAT 5, DOEL
Mira Rooman
By one facade the ruin gives the image that
there could have been two houses, each
one with a diferent scale. With an
imagination and misinterpretation of the
ruin is suggested that there were several
houses on the large empty space. Several
houses which have a diferent scale and
which are scattered on the corner of the
block. Tese houses retain only their
structure and have random openings
which create a maze feeling. Tis imagina-
tion of open houses as public spaces are a
refection of the abandoned village Doel
and fts within the scenario of ruins in
Antwerp.
PASTORIJSTRAAT 5, DOEL
ADSL 2012 RUINS
Mira Rooman
By one facade the ruin gives the image
that there could have been two houses,
each one with a different scale. With
an imagination and misinterpretation
of the ruin is suggested that there were
several houses on the large empty
space. Several houses which have a
different scale and which are scattered
on the corner of the block. These
houses retain only their structure and
have random openings which create
a maze feeling. This imagination of
open houses as public spaces are a
refection of the abandoned village
Doel and fts within the scenario of
ruins in Antwerp.
CAMERMANSTRAAT, DOEL
Dekeukelaere Nathalie
Te ruin is situated in Doel, Antwerp. A
deserted city, f lled with empty houses and
old memories. Te ruin told me that the
house was made out of many small rooms.
Rooms without direct daylight. Tis dark
character of the house f ts the current
atmosphere of the village. I made the ruin
into a real labyrinth where you go from
bright and open spaces in the front to
narrow and dark spaces in the back. Tis
little journey ref ects the history of Doel. A
lot of happy families were banned out of
the village and had to leave all their good
memories behind. Happiness became
sadness.
CAMERMANSTRAAT, DOEL
DEKEUKELAERE NATHALIE
The ruin is situated in Doel,
Antwerp. Adeserted city, lled
with empty houses and old
memories. The ruin told me
that the house was made out
of many small rooms. Rooms
without direct daylight. This
dark character of the house ts
the current atmosphere of the
village. I made the ruin into
a real labyrinth where you go
from bright and open spaces
in the front to narrow and dark
spaces in the back. This little
journey reects the history of
Doel. Alot of happy families
were banned out of the village
and had to leave all their good
memories behind. Happiness
became sadness.
ADSL 2012 RUINS
DEPARTMENT FOR
NAUTIC NEEDS
Philipp Heuken
Te site in the Rijnkaai street close to the
harbour is a perfekt example for Antwerp
as a patchwork of styles and scales. Tis
area is defned by a collage in a larger scale
and the close-up as well. To the south the
ruin is fanked by a classic housing
typology. Whereas the other side of the
street is defned by huge industrial
builings. By having a close-up you get a
hint of the materialization and expression
of the former building. As well as it gives
space for a reinterpretation. Te recon-
structed building is the essence of
observations and imaginations. A huge
th century brick building has risen out of
the remaining structure, serving, due to
the proximity to the harbour, all sailormen.
Teir desires to contact their families afer
a long time on sea got satisfed in the
Department For Nautic Needs. Te m
high-rise building obtains a vast amount of
phone boxes, to make sure that every
seamen can call his family. As well as it
gives phone access to houses in the
neighbourhood.
COVERED DRYDOCK
Senne Van Tricht
Te semi-abandoned drydocks at the
Antwerp harbour have a very specif c
shape. Tey are not just concrete boxes.
Te materials which are used are very
detailed. With some imagination one could
think about the docks as a covered
construction. Tese docks may be used to
give shelter to submarines in case of war.
COVERED DRYDOCK
ADSL 2012 RUINS
Senne Van Tricht
The semi-abandoned drydocks at the Antwerp
harbour have a very specic shape. They are
not just concrete boxes. The materials which
are used are very detailed.
With some imagination one could think about
the docks as a covered construction. These
docks may be used to give shelter to submari-
nes in case of war.
INDUSTRIAL HIGHRISE
Lieven Vansant
In the middle of the historic city of
Antwerp theres a ruin behind an old
medieval facade. Te ruin is a silent
witness of what was there before. Te
heavy industrial beams and the large width
they span suggest this was not just a
normal house. Some time ago there must
have been a dark industrial construction.
Visible, but unreachable in the middle of
the building block.
INDUSTRIAL HIGHRISE
ADSL 2012 RUINS
Lieven Vansant
In the middle of the historic city
of Antwerp theres a ruin behind
an old medieval facade. The ruin
is a silent witness of what was the-
re before. The heavy industrial be-
ams and the large width they span
suggest this was not just a normal
house. Some time ago there must
have been a dark industrial cons-
truction. Visible, but unreachable
in the middle of the building block.
No title
Jef Driesen
RUIN: A DRAWING OF MARKS
Hester Houweling
In Antwerp there are a lot of ruins. Places
where used to be a building. But for years
there are open spaces in the centre what
make it mysteries. Tese ruins are the
inspiration of this workshop. We had to
fnd a ruin and read the marks on the walls
that lef. Especially the details are
interesting and inspiring me to do
something with it. I found a ruin in the
north of Antwerp, close to the harbour. It
is an open space on a corner. Tere should
be a building on this place, which you can
see because of the marks on the walls. Now
they are building something new and
destroying the marks. I didnt designed a
new building for this place, because I
wanted to keep the memory of the old
building and space. I only used the old
marks to create something new. I pulled
out the marks of the walls and foors so it
became a play of the elements that used to
be there.
RUIN: ADRAWING OF MARKS
ADSL 2012 RUINS
Hester Houweling
In Antwerp there are a lot of ruins. Places whe-
re used to be a building. But for years there are
open spaces in the centre what make it myste-
ries. These ruins are the inspiration of this work-
shop. We had to fnd a ruin and read the marks
on the walls that left. Especially the details are
interesting and inspiring me to do something
with it.
I found a ruin in the north of Antwerp, close
to the harbour. It is an open space on a corner.
There should be a building on this place, which
you can see because of the marks on the walls.
Now they are building something new and des-
troying the marks. I didnt designed a new buil-
ding for this place, because I wanted to keep the
memory of the old building and space. I only
used the old marks to create something new. I
pulled out the marks of the walls and foors so
it became a play of the elements that used to be
there.
KLEINE KAUWENBERG,
ANTWERP
Wilkin Steven
Te street Kleine Kauwenberg was in the
th century, afer the third expansion of
Antwerp, the border of a two-day market
which took place in the Paardenmarkt.
Tis street had excellent spatial qualities
combined with the importance of
transportation which was possible
because of the nearby Italilei.
Te ruin has a minimum of historical and
architectural reference points which is as
a matter of fact the main focus of this
reconstruction. Te remarkable aspect of
this ruin is that only two roof shapes are
still visible without further information
about walls, f oors, etc. Te f rst shape,
and most likely the oldest, could refer to a
low open structure for a storage space or a
shelter. Perhaps this old, vulnerable but
valuable structure, which is part of our
patrimony, transformed itself trough time
from an architectural element to a
precious object.
KLEINE KAUWENBERG, ANTWERP
WILKIN STEVE
The street Kleine Kauwenberg was
in the 19th century, after the third
expansion of Antwerp, the border of a
two-day market which took place in the
Paardenmarkt. This street had excellent
spatial qualities combined with the
importance of transportation which was
possible because of the nearby Italilei.
The ruin has a minimum of historical
and architectural reference points which
is as a matter of fact the main focus of
this reconstruction. The remarkable
aspect of this ruin is that only two roof
shapes are still visible without further
information about walls, oors, etc. The
rst shape, and most likely the oldest,
could refer to a low open structure for a
storage space or a shelter. Perhaps this
old, vulnerable but valuable structure,
which is part of our patrimony,
transformed itself trough time from an
architectural element to a precious object.
A roof, also known as the fth
facade, has primarily the function of
protecting other elements from weather
inuences. The second shape could
have had the duty to cover up the rst
one and fulll this function. These two
different structures have on one side a
positive relationship but on the others
their way of dealing with material and
form creates a contrast which leads to
a collapse between old against new.
ADSL 2012 RUINS
A roof, also known as the f fh facade, has
primarily the function of protecting other
elements from weather inf uences. Te
second shape could have had the duty to
cover up the f rst one and fulf ll this
function. Tese two diferent structures
have on one side a positive relationship
but on the others their way of dealing
with material and form creates a contrast
which leads to a collapse between old
against new.
[ ]
WILL THE OBJECT
BE TRANSFORMED
BY A TRANSFER
OF CONTEXT?
W #02
[ ]
INTRODUCTION
Laurent P. Berger received the Villa
Medici Grant through the French
Academie in Rome. His work has been
exhibited internationally, at the Watermill
Center in New York, the Tyssen-Borne-
misza Art Contemporary in Vienna, the
Museo Alejandro Otero in Caracas, the
Museo de Arte Carrillo Gil in Mexico, the
Norrkpings Konstmuseum in Sweden,
the Sorlandet Art Museum in Kristian-
sand, the MACBA in Barcelona, the Museu
Berardo in Lisbonne. In , he
participated at the Whitney Biennale in
New York, in , at the AIM Marrakech
International Biennale. Te same year he
has been in residency at the Tokyo Wonder
Site and in at the Shizuoka Perform-
ing Arts Center.
Cyrille Berger was awarded the
NAJAP (young architects award) by the
French Ministry of Culture in . His
work has been shown in at the th
International Architecture Biennale in
Venice, in at the th European
Landscape Biennial in Barcelona and at the
nd Biennale of the Canaries Islands.
Laurent P. Berger, visual artist graduated
from Ecole Nationale Suprieure des Arts
Dcoratifs (Paris) and Cyrille Berger,
architect graduated from Ecole Nationale
Suprieure dArchitecture de Paris La
Vilette, have been collaborating since
under the name Berger&Berger. Between
and Berger&Berger were
residents at CentQuatre in Paris. In ,
they have been selected to participate in
the closed competition for the building of a
mobile museum by the Pompidou Centre
(Paris) and in the program City Visions
Europe, a design-research program
focusing on the urban condition in
Europe, initiated by the Berlage Institute in
Rotterdam.
In , they have been selected for the
th international architecture Venice
Biennale to present a prefabricated movie
theater at the Arsenal.
In january , they are delivering the
extension of the Centre International dart
et du Paysage de lIle de Vassivire
(Limousin).
[ ]
WORKSHOP
Top
Feuillets dHypnos
Berger & Berger
Middle
Vanishing Point
Laurent P. Berger
Bottom left
The Prophecy
Berger & Berger
Bottom right
a va
Berger & Berger
When transferring the context, will the
object be transformed? Te workshop that
we implement re-examine the status of the
object through the shif of context.
Work situated on the border of various
artistic felds, visual arts, design, architec-
ture, sculpture, graphic. A workshop
located in the friction between various
artistic felds: while operating from the
territory of the arts or architecture, this
project aims to examine the status of the
designer, the architect, sculptor and
graphic designer, sowing disorder between
the concepts of object and art work while
disturbing the contemporary practice of
the exhibition. A house can become an
artwork, a sculpture can become a
building, a plant can become images, a
painting can become a ceiling...
When a space, a place or object is designed
for a specifc area, but moved to another
area, will the nature of it be afected?
Transformed in some way. Not in its form
but in its status.
Te workshop will apply the development
of a shif of object phenomena in the feld
of architecture to the feld of art and vice
versa. A number of artefacts will be
realized: models, objects, drawings, plans,
installations, many performances or
presentations that at the end will be
exhibited in the studio like an exhibition
with us as being the curators.Tis will
reveal the ambiguity that arises from the
breakdown of traditional boundaries of art
towards a form of artwork that invests
everyday objects: their functionality, the
relation with decoration, questioning the
place and status of art. Tese issues, which
are specifc to the extension of the
boundaries of the artistic feld of design
and architecture, are the proper questions
for visual art contained in our work:
attention to form, the distribution of
elements in space, etc Tus the role of
context and the viewer is essential in this
post-Duchamp debate on the distinction
between art objects and simple objects in
the world. Questioning the notion of
exhibition. Te works produced during the
week will create interior environments for
indeterminate use. Te audience will be
guided into a place shaped by the works:
between utility, living and decoration, play-
ing on the ambiguity of erasure as art
works in favour of creating a place, an
ambiance. Blurring the boundaries of a
work of art, questioning us about the
nature of its objects, sculptures, architec-
ture or design objects, testing the limits of
the exhibition spaces.
[ ]
HABITUS
W #03
[ ]
INTRODUCTION
Lorenzo Bini () was born and
educated as an architect in Italy where he
graduated in . In he moved to
Te Netherlands to work for West Urban
Design and Landscape Architecture. In
he returned to Italy and co-founded
studiometrico, an architecture practice that
he has been directing until , when the
ofce has ceased business. In Lorenzo
started a new practice called BINOCLE.
Beside his professional activity, he has been
lecturing in few European schools and hes
currently teaching architecture at the
Politecnico di Milano.
[ ]
WORKSHOP
Top left
Illustration for Bini 01
on-line Encyclopdie
ou dictionnaire raisonn
des sciences, des arts
et des mtiers
Top right
on-line Encyclopdie
et des mtiers
Bottom
on-line Encyclopdie
et des mtiers
Is it really true that Te cowl doesnt make
the monk?
From medieval language cucullus non facit
monachum, or in french lhabit ne fait pas
le moine, means that appearance is no
reliable guide to a persons true character.
Jennifer Speake, the Oxford Dictionary of proverbs
Were Corbus spectacles merely functional
or were they also a professional statement?
Why do you need to look good in order
to feel good and eventually play good?
Are we as disposed to change appearance
as much as we are eager to manipulate
space?
Does the word Transformer suggest a
possible strategy for architects and
designers to survive and proliferate in the
near (troubled) future?
Having in mind these and many other
questions, I would like to explore the
potentials of architectural skills applied on
tailoring crafmanship.
During the workshop each participant will
design and build a wearable dress, suit,
uniform or costume (this will depend on
individual desires and attitudes...) that will
be eventually worn to enanche a profes-
sional transformation.
Few operative rules and guidelines will be
communicated at the beginning of the
workshop.
NO SEXISM IN
ARCHITECTURE!
Charlotte Vandeplassche
THERES ONLY ONE
ARCHITECTURE!
Nele Verbeke
MORE TRUST IN
ARCHITECTS!
Bieke Moelans
MORE PUBLIC
ARCHITECTURE!
Ben Van Dessel
MORE CREDITS
FOR ARCHITECTS
RESPONSIBILITIES!
Caroline Livens
ARCHITECTURE IS
LEADERSHIP!
Chlo Dillen
HIGHER FEES FOR
ARCHITECTS!
Pauline Stuyck
ARCHITECTS ARE
PRAGMATIC, NOT
JUST CREATIVE!
Julie De Raedt
ARCHITECTS WANT
THEIR LIVES BACK!
Saba Cuyckens
ARCHITECTURE
DOESNT HAVE
TO BE UNIQUE!
Glay Gldemir
LESS RULES IN
ARCHITECTURE!
Klaartje Kempenaers
EMPORIO BINI
collective design
[ ]
FROM BED
TO STREET
W #04
[ ]
INTRODUCTION
Daniel Cid is scientifc director of
ELISAVA Higher Design School, Barce-
lona. PhD from Universitat de Barcelona,
where his research focused on the
phenomenon of domestic matters and
personal experience. He has been involved
as a curator on diferent museums projects.
He has given classes and lectures at
diferent European and Latin American
universities. As vice-chairman of FAD - the
Barcelona-based association of designers
- he has developed projects such as Xarxes
dOpini and the City to City Barcelona
FAD Award.
Josep Bohigas, architect based
Barcelona. In he created the architec-
ture studio BOPBAA together with Iaki
Baquero and Francesc Pla. Teir work
includes urban design, architecture,
ephemeral design, as well as curators of
diferent cultural projects. From he
teaches at university centres such as the
ELISAVA Higher Design School (Pompeu
Fabra), the Universitat Internacional de
Catalunya or Escola Tcnica Superior
dArquitectura de Barcelona (UPC). He is
the mind of the project APTM, presented
at Construmat , an initiative that
proposed building low-cost housing under
sustainability criteria, with quality
materials and in a minimal space (just
above square meters).
[ ]
WORKSHOP
Top
A Night At The Opera
The Marx Brothers
1935
Bottom
The Navigator
With Buster Keaton
1924
Te starting point of our exercise is a space
that already exists in the School, the door.
A door, which is also a house. We invite
you, students, to become the inhabitants of
this place, to TRANSFORM it into your
home so that later you can turn the
experience into a project. Following the
order that goes from bed to street
(intimacy, privacy, collective, public) we
want you to sleep there in the privacy of a
bed (intimacy). We want you simply to be
there just like any inhabitant in the
living-room at home. Te house, like art, is
the place where nothing is done and where
there are always things to be done
(privacy). We want you, through those
common spaces of the house, to share a
meal, a class, etc. (collective). We want this
whole experience to become a project
exhibited and shared by the students who
walk through the door and come out onto
the street, and by any passers-by who
happen to be around. An ephemeral
transformation of intimacy made public.
from

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street
#
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http://storify.com/ThelmaLouise/fb2s-from-bed-to-street
lynn
talia
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justine
fabio
vincent
caroline
julie
tinne
noelia
wim
samuel
valentina
alain
guillem
markus
alexa
marta
anne-sophie
josep
daniel
day#1
day#2
day#3
day#4
day#5
From Bed To Street
www.youtube.com/watch?v=KJkzw2gcN_o&feature=youtu.be
Concept, construction and habitation.
[ ]
NONUMENTS
W #05
[ ]
INTRODUCTION
Graeme Brooker is a designer,
academic and writer based in the UK
where he teaches studios in Interior
Architecture at the University of Brighton.
He has written extensively on the design of
the interior and the reworking of existing
spaces and buildings and is the co-author
of a number of books including Reread-
ings (RIBA ) and What is Interior
Design? (Rotovision ). He is the
co-founder and now Director of I.E.
(Interior Educators). He is currently
working on a number of new books
including a reader on Interior theory,
() editing a selection of essays for the
Handbook of Interior Design () and a
book on the history of the interior ().
[ ]
WORKSHOP
Top left
Buildings of Disaster
Boym Studio
Top right
Battenberg
Brian Griffiths
Proposal Fourth Plinth
Bottom
Empty plinth at
Campus Mutsaard
In the nineteenth century, the philologist
Alois Riegl was concerned with the
exploration of how art forms mirrored
there period and time. He explored
insignifcant details such as the ornamental
patterns and motifs in carpets in order to
make sense of change and developments in
the languages of things and in turn society.
In these investigations Riegl posited the
idea that historic monuments had a
constantly evolving and transformative
urban role, especially as their appreciation
shifed throughout their lifetime. In his
essay On Te Modern Cult of
Monuments Riegl formulated three types
of these monuments; Intentional,
unintentional and age value. Riegl defned
the monument as an artifact that retains in
itself, intentionally or unintentionally, an
element of the past and the future. In the
th year since Matta-Clark made Ofce
Baroque in Antwerp this workshop will
explore the transformative dimensions of
the NONUMENT, a democratic non-
monument that embodies and communi-
cates the ideas and concerns of the
students participating in this workshop.
NONUMENTS is a workshop that will
democratize and communicate an (in)
appropriate homage to the ideas and issues
of the students and the city. Te site for the
NONUMENT is the empty plinth in the
courtyard at the entrance to the school.
WE EXI(S)T
Kenn Van Overveld
Jan Jacobs
Tomas Fonken
Tomas Dewaele
Tis project wanted to fnd an answer to
the question: Who or what is an archi-
tect? and Which aspects make an
identity?. Tey tried to fnd an answer by
using transformation and interaction in
theit sculpture. By turning the panels like
the pages of a book and putting your head
in the chosen hole, the user creates his
archidentity.
nONUMENTS
www.youtube.com/watch?v=gc0P2I1Hrsc
Construction and use
WE EXI(S) (S)T
Climbing up the stairs to exist and coming
down to exit, we are the spirit of the school.
ADSL 2012 NONUMENTS GRAEME BROOKER
mODULOR
Joke Verbeke
Lore Maes
Long Tan Phan
Tis project wanted to fnd an answer to
the question: Who or what is an archi-
tect? and Which aspects make an
identity?. Tey tried to fnd an answer by
using transformation and interaction in
their sculpture. Tey wanted to replace the
missing statue by a three dimensional,
personalized scrapbook that could be
altered by its user.
By turning the panels like the pages of a
book and putting your head in the chosen
hole, the user creates his archidentity. Te
identity of the user combined with some
stereotypical aspects of an architect make a
new interpretation of Le Corbusiers
modulor.
ADSL-WEEK
REFLECTION
Alison Johnson
Asha
Te visitors focus in on interesting
monuments around the site. Te viewer is
able to walk onto the top of the plinth and
is able to become part of the nonument.
On entering the site, the installation
becomes the nonument distorting the view
through the courtyard.
Te nonument is a device that focuses
the viewers attention to the context. It
allows the viewer to become a monument,
and take a new, abstracted perspective of
the space. Moving through the space
creates changing images on the refective
surfaces of the installation
160 ADSL 2012 [TRANSFORMER] 160 ADSL 2012 [TRANSFORMER]
The last forest
Johan Michiels
Anneleen De Witte
Edward Van Loocke
, a courtyard of a school for architec-
ture and a monumental plinth without
statue become the scene for an unusual
intervention. Te plinth is serving as base
for a planter which decorates a platform,
on which students can hang out for a while
enjoying the sunny weather. Tis tempo-
rary platform, constructed with cheap
materials that can be reused aferwards,
reduces the height of the plinth. On top of
that, a white screen withdraws the plinth
from the sight, stripping it completely
from its monumentality. Nobody could
ever imagine that these freshly planted
apple-trees would become a very impor-
tant work in progress in pre-membrance
of a lost future.

, planet earth faces massive ecological
destruction; due to the greenhouse efect
the sea level has risen and all forests have
disappeared... Te only remaining trees are
found in Antwerp, were a group of
apple-trees are desperately clinging to their
plinth. People from all over the planet
come to visit this world renowned
monument in the centre of the Antwerp
tree museum.
[ ]
PUBLIC SPACE
ACUPUNCTURE
W #06
[ ]
INTRODUCTION
Helena Casanov & Jess
Hernandez, both born in , Madrid
and graduated in at the Faculty of
Architecture ETSAM in Madrid.
Helena Casanova worked for West and
Neutelings-Riedijk, Jess Hernandez for
West and Claus & Kaan before starting
the Casanova + Hernandez Architecten
ofce in in Rotterdam. Guest
professors at the Academy of Architecture
Arnhem and Amsterdam (-), TU
Delf (-), the Academy of Architec-
ture Rotterdam (-), guest critics in
Chalmers School of Architecture,
Gtemborg () and visiting lecturers at
the Berlage Institute Rotterdam (-).
Helena Casanova is member of the
commission Research and design of the
Stimuleringsfonds for Architecture,
Rotterdam. Since Jess Hernandez is
member of the Spanish Landscape
Architects Association.Casanova-Hernan-
dez architecten won many awards such as
the World Landscape Art Exposition
in Jinzhou (), the Sixth European
Biennial of Landscape (), the
Landscape Intervention for Lausanne
Jardins and the MUF Public Space
Madrid.
[ ]
WORKSHOP
Top left
Aerial photo
of Rome
Top right
Map of Rome
Giambattista Nolli
1748
Bottom
Leap into the void
Yves Klein
1960
In the nineteenth century, the philologist
Alois Riegl was concerned with the
exploration of how art forms mirrored
there period and time. He explored
insignifcant details such as the ornamental
patterns and motifs in carpets in order to
make sense of change and developments in
the languages of things and in turn society.
In these investigations Riegl posited the
idea that historic monuments had a
constantly evolving and transformative
urban role, especially as their appreciation
shifed throughout their lifetime. In his
essay On Te Modern Cult of
Monuments Riegl formulated three types
of these monuments; Intentional,
unintentional and age value. Riegl defned
the monument as an artifact that retains in
itself, intentionally or unintentionally, an
element of the past and the future. In the
th year since Matta-Clark made Ofce
Baroque in Antwerp this workshop will
explore the transformative dimensions of
the NONUMENT, a democratic non-
monument that embodies and communi-
cates the ideas and concerns of the
students participating in this workshop.
NONUMENTS is a workshop that will
democratize and communicate an (in)
appropriate homage to the ideas and issues
of the students and the city. Te site for the
NONUMENT is the empty plinth in the
courtyard at the entrance to the school.
Sitting Link
Tom De Putter
Niels Teunis
Nicolas Mossoux
Yakira Pouillon
One of our main objectives is to stimulate
the diferent actors from the school (staf,
students, teachers ) to have more social
interaction. We try to achieve this by
creating interventions on the places where
we can see the most circulation and
gathering of our target groups.
By frst visually creating a link between the
front entrance and the entrance at the
parking lot we make the people aware of
the possible second entrance at the parking
lot, which is mostly being used by the
people coming from Roosevelt or Central
station. We intervene by creating dynamic
sitting landscapes that exist out of multiple,
individual and mobile components.
By making these hotspots for human
circulation more attractive and pleasant to
linger, we hope to create more opportuni-
ties for social interaction.
Square Meter
Antoinette Mas
Laura Meulemans
Paolo Migliori
Dries Ramaekers
A Couple of years ago the character of the
conicksplein changed complitely: they
builded a library to attract an other group
of people and to upgrade the neigh-
bourhoud, they installed cameras next to
the tramway to control the square and by
doing this they tried to stop criminality
and drugs problems.
We noticed that people dont use this
public space anymore to stay, because if
you hang out on the square in a group for a
while the police coes and think you are
dealing drugs. Also a lot of bars closed
afer this iterventions. Te square became a
circulation space.
We want to create a space to escape from
the cameras and bring the public character
back to the square. We want to do this by
creating a skin which embrace a part of the
square, in this skin we put a bench. Our
goal is to make the people aware that the
square is not used as a square anymore.
We hope people will enter the box, hang
out together and realise it is strane that
they need this skin to just seat on the
square without feeling controled.
Square Meter observation
www.youtube.com/watch?v=EbnEuZAgApg&feature=youtu.be
Instalation and observation
Public Space Acupuncture
Fien Batens
Elisabeth Stellfeld
Matthias Zaman
Our target group are smokers. Because of a
new regulations about smoking in
restaurants, bars, public building, people
need to stand outside for smoking their
cigarette, what has an impact on the public
area.
We want to design an area in the public
space where smokers can claim there space
without disturbing non smokers.
Our intervention need a link with
smoking, maybe we can achieve this by
scaling objects or link the form with smoke
habits.
Know the unknown
Stphane Kaczmarek
Charlotte Tersago
Kaurie Vleugels
Our interventions are focused on students
who are new in the city (Erasmus, frst year
students from outside Antwerp) and dont
know the area. By giving clear directions to
main interest points for all students in the
environment, they meet each other and
upgrade their social life.
Te goal is to have the students learn about
the area and each other, without imposing
a certain social interaction. Te interven-
tions are a tool, can be used to get to places
where there always is a social gathering.
By placing oversized objects at locations
concerning education (school, library),
food and drinks (restaurant) and sports
(gym) they become very recognizable. Te
objects are related to the activity that takes
place in those buildings, like eating
(restaurant) and reading (library). Not only
do the objects have a visual function, some
of them can also be used as a shelter or
bike stand, others can be used as a bench.
Village People
Erika Baluw
Corinna Del Bianco
Stphane Kaczmarek
Charlotte Tersago
Wim Van De Meirssche
Kaurie Vleugels
What we want
We want people of the area (behaving like
a village) to behave like a village commu-
nity. We want to change individual habits
creating possibilities of interaction. We want
to create a community life make people
aware of being part of a village system.
What to transform
People awareness of the system in which
they live in. People everyday path.
How to transform / Strategy
We make people stop and meet along their
usual paths. We make pauses in the routine
paths. We use foot paths extra space in
Paardenmarkt. We provide a tool usable
both in summer and winter seasons.
Chat Move
Play
Lie
[ ]
H IS FOR
HOUSE.
W #07
[ ]
INTRODUCTION
Christian Frhlich studied architec-
ture at the TU Graz. Works in between
architecture, art and media. Teaching
experience since . He taught Visual
Design, Architecture and Film and Design
Studio at the Grazer Schule. From to
, Assistent Professor at the Institute of
Architecture and Media. Founder of the
the media lab no_Lab. From to ,
co-director of the postgradual master
degree program Architectural Computing
and Media Technology at the TU Graz.
Won the Austrian Building Price
(Category: Institutes and Faculties) and the
Schtte-Lihotzky-Project Award from the
Federal Chancellery of Austria, Section of
Artistic Afairs. Participated in several
academic workshops, scientifc confer-
ences and art festivals worldwide. Works
on his doctoral thesis about architectural
experiments; currently Senior Scientist at
the Institute for Art and Architecture at the
Academy of Fine Arts in Vienna and runs
- together with Johanna Digruber - the
architectural studio HARDDCOR.
[ ]
WORKSHOP
Top
Illustration
HARDDCOR
Photo
ICA Media Room
Diller Scofidio+Renfro
Script (ectracts)
Peter Greenaway
Bottom
slow h model
Peter Alfred Hess
Building a View Finder in order to produce
a series of Video Paintings by following a
set of rules and thus transform an interior
space whose Transformation can be seen
only by observing the space through the
View Finder which fnally has become a
screen - a Transformer.
Video for me is a way of confguring light,
just as painting is a way of confguring
paint. What you see is simply light patterned
in various ways. For an artist, video is the
best light organ that anyone has ever
invented. (Brian Eno)
H is for house.
A is for apple.
B is for butterfies.
H is for [hats?], my [hat?]
H is for homemovie and Hollywood. G is for
grannysmiths. C is for coxs orange pippins.
H is for harvest.
B is for blackberries. I like those ones.
C is for cows.
B is for bike.
H is for horse.
M is for music.
H is for hocus-pocus, helter-skelter, harum-scarum,
hoity-toity, hokey-cokey, hotchpotch, hubble-bubble,
[?-?], [hurdy-gurdy?], [?-?].
T is for table.
H is for hybrid.
L is for the ladder.
H is for habits.
H is for house.
S is for sun.
H is for half-past six, half-past seven, half-past eight,
half-past nine, half-past ten, half-past eleven, half-past
twelve...
H is for horizon
H is for house.
D is for [its very dark outside. Go to bed!]
(extracts from a script by Peter Greenaway)
Building a View Finder in order to produce a series of Video Paintings
by following a set of rules and thus transform an interior space whose
Transformation can be seen only by observing the space through the
View Finder which finally has become a screen - a Transformer.
Video for me is a way of configuring light, just as painting
is a way of configuring paint. What you see is simply light
patterned in various ways. For an artist, video is the best
light organ that anyone has ever invented. (Brian Eno)
H is for house.
A is for apple.
B is for butterflies.
H is for [hats?], my [hat?]
H is for homemovie and Hollywood. G is for grannysmiths. C is for cox's orange pippins.
H is for harvest.
B is for blackberries. I like those ones.
C is for cows.
B is for bike.
H is for horse.
M is for music.
H is for hocus-pocus, helter-skelter, harum-scarum, hoity-toity,
hokey-cokey, hotchpotch, hubble-bubble, [?-?], [hurdy-gurdy], [?-?].
T is for table.
H is for hybrid.
L is for the ladder.
H is for habits.
H is for house.
S is for sun.
H is for half-past six, half-past seven, half-past eight, half-past nine,
half-past ten, half-past eleven, half-past twelve...
H is for horizon
H is for house.
D is for [it's very dark outside. Go to bed!]
An Eye for Optical Theory
Christian Frhlich

Illustration: HARDDCOR
Photo: ICAMedia Room, Diller Scofidio+Renfro
Script (ectracts): Peter Greenaway
Should an artist draw what he sees or what he knows?
Videopaintings
ADSL 2012 [TRANSFORMER] 185 ADSL 2012 [TRANSFORMER] 185
#1_videopainting
www.youtube.com/watch?v=rgWfscyF09E&feature=youtu.be
Simon Claessens
Nicolas Debuyst
Julie Jonckheer
#3_videopainting
www.youtube.com/watch?v=R4yQlncyxXo&feature=youtu.be
Ellen Van Den Brande
Nikola Znaor
Christopher Ghouse
#2_videopainting
www.youtube.com/watch?v=zwxCwnPmf7M&feature=youtu.be
Jeroen Geys
Vincent Van Baelen
Stijn Rybels
ADSL 2012 [TRANSFORMER] 187 ADSL 2012 [TRANSFORMER] 187
#5_videopainting
www.youtube.com/watch?v=6L-AWLB0rS0&feature=youtu.be
Ruud Aerts
Ferdinand Fritz
Thomas Niederberger
#4_videopainting
www.youtube.com/watch?v=BlN9wKEt-OU&feature=youtu.be
Franziska Kuferle
Eline Raaymakers
Liesbeth Donckers
[ ]
HELGOLAND
W #08
[ ]
INTRODUCTION
Filip Geerts () graduated cum
laude from the Delf University of Technol-
ogy in . As Assistant Professor of
Architecture at the TU Delf since , he
is an educator and researcher responsible
for the program Territory in Transit. His
main interest is the intersection of
architecture, city, landscape and infrastruc-
ture: dealing with the large dimension
through the lens of architecture. He is
currently completing his Phd research
Architecture/Territory: Architectures
construction of a problem of the whole. As
an architect, he has worked on projects
and competition entries. He is about to
publish DAM, Architectural Considera-
tions on the Modifcation of Territory
(Standpunkte, Basel), with llmar
Hurkxkens and Philipp Herrmann.
Wannes Peeters () graduated
magna cum laude from the Artesis
University College Antwerp (),
studying abroad in Stockholm at KTH
Royal Institute of Technology and is
alumnus from the Berlage Institute,
Rotterdam (). While studying he was
selected to participate in the
Meesterproef, a biennial competition for
young architects organized by the Flemish
Government State Architect and was
research assistant for the book publication
Te Berlage Survey of the Culture,
Education, and Practice of Architecture
and Urbanism (ed. Salomon Frausto). He
worked at the Architecture Workroom
Brussels as a curatorial assistant for the th
International Architecture Biennale
Rotterdam. Currently he works at HUB
architecten in Antwerp.
[ ]
WORKSHOP
Top
Helgoland
1649
Bottom
Big Bang
1947
Holy Land in the North Sea. Two islands,
Hauptinsel and Dne (the frst rocky, the
latter sandy), connected until the
storm surge, rise from the shallow seabed
of the German Bight, reaching m above
MSL. Te isolated land formation is a
geological, geopolitical, economical and
historical exception. Te ancient red clifs
of Hauptinsel are a singular sight anywhere
near the continental coast of the North
Sea. Te more recent white chalk under-
neath Dne has more in common with the
clifs of Dover and the Baltic than with the
fat coastal lands of the Wadden Sea. Its
geological hardness resisted the eroding
rise of the sea afer the last Ice age that
submerged all surrounding lowland.
Colonized frst by Friesians around
AD, fending of the Romans, conquered
by Vikings, terrorizing Hanseatic trade
routes, ceded by Denmark to the United
Kingdom at the end of the Napoleonic
wars, exchanged for Zanzibar by the
German Empire, turned into a navy base,
forcefully deserted by its inhabitants on the
eve of WW, bombed by the RAF in
WW, nearly obliterated by the British Big
Bang of at the fourth pip of the BBC
time signal the largest non-nuclear
man-made explosion until , resettled
again enjoying tourism revenue and a
tax-exempt status while part of the EU, the
island now seams a perfect laboratory to
reconsider landscape, architecture and
island utopia. Although hopes for
reuniting the two islands by land-reclama-
tion were recently thwarted by the
outcome of a referendum, the project
will be to design a new landscape between
Hauptinsel and Dne and propose a
settlement principle based on the utopian
alphabet, while learning from Moore,
Ledoux, Deleuze, Smithson and Hejduk.
Top left
Current state
Top right
Homemade Levees
Mississippi River
Bottom
First design phase
Muschel
On geographical level, there are many
structural possibilities.
Te referendum suggested a extension
of the main island to the dune by sand
replenishment, which can take many
forms. Dredging an independent island for
instance doesnt afect the identity of the
islands in comparison to an extension. Tis
contains an enormous efect on the
sea-bottom and its wildlife.
Te main advantage of the proposal of a
foating island is the undisturbed wildlife.
It would function as a servant with its own
identity and take various positions towards
the other islands.
A third possibility is the creation of a
polder which provides a new fexible
existence. Land and water combined form
a new diversity of nature. Like dredged
land, the position of a polder is permanent.
Te new proposal for extra land contains
polder enclosed by an embankment. Tis
new entity is centered between the two
islands and disconnected of them. Te site
manifests itself as a third identity which
benefts Helgolands existing and desired
diversity. Te shape of its boundary is
adept to the depth of the sea. Te site
enclosed by this wall is positioned under
the sea level, which creates an extra height
on the islands section. Te slope of the
boundary is adapted to his radius. Te
space between the existing and the new
border is complemented by concrete
tetrahedra such as artifcial rocks. At high
tide the gap is fooded and at ebb a bridge
between the islands is formed. Tis new
form creates ecological possibilities. Tis
concept of a narrow gap, making the
foatation between the island faster, can be
used to produce sustainable energy.
Because of the specifc water fow the gap
will clog in time and merge the three
islands in a natural way. Positioning hollow
cylinders integrated with propellers will
not only provide energy for the islands,
which also can provide an income, but
even provide an autonomous existence.
GEOGRAPHY
Top
The terminal
Bottom
Second design phase
Hegoland connectivity
Te transportation on Helgoland is as
exceptional as its character, bicycles are
forbidden and cars are repressed. Because
of the topography the importance of the
vertical transportation is equal to the
horizontal.
In order to remain outliving on Helgoland
and the existence of its economy, its of
interest to map and survey the signifcance
of the connections with the mainland and
between the islands. Tis is a research of a
more global transportation.
On local scale, the signifcance of locations
and the possibilities of transportation
between them is important for intercon-
nection amongst the residents but also for
visitors. Terefore intensity of locality and
transportation is studied.
Te transport system accentuates the
hierarchy amongst the islands. Te green
residential area dominates with its rocky
appearance of Oberland, Mittelland and
Unterland, followed by is the lower sandy
Dne ,which will be the HUB of the
archipelago, and the moist polder below
sea level, forming the new utopian centre.
Te HUB will contain a terminal welcom-
ing plains and hovercrafs from the
mainland and the stretching arms which
interconnect the islands.
Tese stretching arms formed out of a
truss system, connecting the existing
elevator of the main island, the center
island and the terminal on Dne. By this
three point connection the islands remain
almost untouched, respecting their
character. Te actual transportation
happens within the truss beams by a
boardwalk and mobile cabins. Te latter
persuaded by kinetic energy encouraged
by the counterbalance of two moving
elements, which is also a sustainable
energy system, respecting the islands
lifestyle.
CONNECTION
-10 000 MSL
+10 000 PSL
54000 + PSL
4000 + PSL
4000 + PSL Air-Sea Terminal
Existing elevator
Central square
Top
Example of settlements
Bottom
Third design phase
Settlements
Te settlement focus on paradigms for the
island. Its a study about the whole, the
void, the in-between, the centre and the
periphery while researching existing
models.
Te transport system touches down on the
symmetrical axis of the new central island
and forms the centre and public space of
the new utopian village. Its surrounded
with a building density decreased towards
the extremity of the island. Te settlement
volumes are placed on a organic grid,
binding with nature, contradicting the new
geography and transportation. On the
wide end of the polder a wetland is formed
in a natural way composed by the seabed
level.
SETTLEMENT
Helgoland
The main island and the dune
Helgoland Bay
The existing Piers get extended. On top of
the new platforms people can inhabitate their
plots.
Radial Fragments
A new grid according to the radial village
fragments is implemented on the islands.
Fully inhabitated
the islands are fully filled with paths and
buildings.
Inverted Grid
A grid is applied on the two islands.
Not regarding the existing structures
Grid
A new strict gridstructure is build around the
two islands. they remain as they are.
Living on the Coast
The Waterfront gets fully densified.
Learning from Helgoland
The found structures of settlement are copied to
other spots on the island.
On the dune people live in temporary structures.
Ideal City
The new Connection is an ideal, self sufficient
village. The existing island are used for agriculture and
farming.
Natural Borders
Settlement is continued along the existing
geographical borders of the two islands. The cliff on the
main island and the dunes on the other one.
Main Streets
Settlement along the intensified
main streets of the islands.
Living & Working
People live on the main island and work on the dune.
The connection gets really important. As the tourism growth, more people
need to live on the island and inhabitate the connection as well.
Helgoland
The main island and the dune
Helgoland Bay
The existing Piers get extended. On top of
the new platforms people can inhabitate their
plots.
Radial Fragments
A new grid according to the radial village
fragments is implemented on the islands.
Fully inhabitated
the islands are fully filled with paths and
buildings.
Inverted Grid
A grid is applied on the two islands.
Not regarding the existing structures
Grid
A new strict gridstructure is build around the
two islands. they remain as they are.
Living on the Coast
The Waterfront gets fully densified.
Learning from Helgoland
The found structures of settlement are copied to
other spots on the island.
On the dune people live in temporary structures.
Ideal City
The new Connection is an ideal, self sufficient
village. The existing island are used for agriculture and
farming.
Natural Borders
Settlement is continued along the existing
geographical borders of the two islands. The cliff on the
main island and the dunes on the other one.
Main Streets
Settlement along the intensified
main streets of the islands.
Living & Working
People live on the main island and work on the dune.
The connection gets really important. As the tourism growth, more people
need to live on the island and inhabitate the connection as well.
200 ADSL 2012 [TRANSFORMER] 200 ADSL 2012 [TRANSFORMER]
Top
The inventory of
existing elements
Bottom
Location of
the inventory
Foldout top left
Campfire place
Foldout bottom left
Rescue post
Foldout right
Bird view post
Te inventory maps all existing elements.
Its a documentation of specifc activities
and programs related to the curious
character of the island. Its a study about
the relevance of these elements to the new
referendum.
Campfre place
An object or a site can become more
valuable by linking it to a ritual. Terefore
associated to the old funeral ritual of the
Vikings. To honor the dead, the Vikings
made the form of a boat in the grass with
rocks comparable to Menhirs. Tey were
buried in a Knarr, which is a boat, pushed
Knarrs could be pushed from the land into
the sea. One side of this renewed monu-
ment is a dock, the other side is a row of
stones. Tis row will spread out with an
integration of barbecues and eventually
make a circular seating area around the
lifs the experience of the place up to a
higher level.
Rescue brigade
Te design of the rescue brigade is based
on a remans pole. Te pole works as a
central spill to which all the dierent
functions (sleeping room, gym/ relaxation
room, view point and workspace) are
connected. In the case of a rescue, via the
spill, the crew collects underneath the
tower. Starting from here, they can rescue
by boat or helicopter. Te height of the
tower is an advantage for receiving rescue
signals.
Bird view post
Te island is an important breeding place
for seabirds from the North Sea region.
During the autumn it is a stopover for
birds on their way to the South. Also in the
middle piece of the island theres a variety
of birds. Because of these reasons the
island attracts many birdwatcher and
lovers. By the absence of a bird view
point, several were created. Tey were
integrated in nature in a modest way, by
hidden them in the clis. Tey provide an
excellent view on the birds without
disturbing them.
INVENTORY
BIRD VIEW POST
The island is an important breeding place for seabirds from the
North Sea region. During the autumn it is a stopover for birds on
their way to the South. Also in the middle piece of the island
theres a variety of birds. Because of these reasons the island
attracts many birdwatcher and lovers. By the absence of a bird
view point, several were created. They were integrated in nature
in a modest way, by hidden them in the clifs. They provide an
excellent view on the birds without disturbing them.
RESCUE BRIGADE
The design of the rescue brigade is based on a fremans
pole. The pole works as a central spill to which all the
diferent functions (sleeping room, gym/ relaxation room,
view point and workspace) are connected. In the case of a
rescue, via the spill, the crew collects underneath the tower.
Starting from here, they can rescue by boat or helicopter.
The height of the tower is an advantage for receiving
rescue signals.
Al these former ingredients can be used to
envision a plan for socio-economic
development of the future Helgoland. Its a
vision which provides new life to the
identity of the island where global and
local conditions merge. A proposal for
Helgolands future framework.
Ecotourism is a sustainable form of
natural resource-based tourism that
focuses primarily on experience and
learning about nature, and which is
ethically managed to be low-impact,
non-consumptive, and locally oriented
(control, benefts, and scale). It typically
occurs in natural areas, and should
contribute to the conservation or
preservation of such areas.
Helgoland produces its own energy solely
with the use of durable energy sources.
Due to this, the island becomes completely
independent from the German mainland
and becomes an autonomous island ones
more. Even the opportunity arises to sell
lefover energy to Germany.
Te island strives to lower its overcon-
sumption and wasteproduction. Tis is
accomplished by local produce of organic
food and the sale to visitors. Tis approach
leads to the support of local fnancial
wealth and increases interaction between
civilian and consumer.
Helgoland makes the efort to maintain
and strengthen the natural, social and
cultural diversity. Visitors are informed of
the local habits, fauna and fora. Tourist
can participated to scientifc research to
contribute and to learn about local culture,
nature and population.
Helgolands ecotourism needs to maintain
small scaled to preserve the existing
diversity. Te visitoramount cant exceed
the capacity of the ecosystem so it gets the
chance to restore.
Grn ist das land
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Lange Anna
Lange Anna is the symbol of Helgoland. This
towering stack reaches up to 40 meters. Its re-
markable red colored, due to the sedimentary
rock. To protect this natural monument, in 1903,
a wall was built to protect it against stormy
weather. Unfortunately, erosion will continue
and eventually make Lange Anna collapse.
Bunker ruin
The bunkers are destroyed by the bombing. The
remains became historical elements and a view-
point on the island.
Pinneberg
The Pinneberg is with its 61 meters the highest
point of the island, although it doesnt life up to
the expectation of a highest point.
Bird veiwpoints
We created several bird view points, integrated
in a modest way in nature: hidden in the clifs.
In thosebird view points the birdwatchers have
an excellent view on the fying birds without
hunting them away.
Campfre
Such a place has a lot of charisma. When we
compare it with activities organized in Antwerp,
the place could be more valuable then it is now.
The place has a lot of potential to become a
(eco-)touristic event.
Soccerfeld
The feld looks like it doesnt belong there.
When you look closer you can see that the ori-
entation and the slope are adapted to nature.
Allotments
The allotments are located on the edge of the
clif, which some appear to fell of.
Craters
The craters are the storytellers of the island,
adding historical value to it and faded by time.
Mini-Helgoland
Though its a mini-version of the reality, it still
has a accessible scale, which is rather odd in
comparison to the size of the island.
Church, tower and graveyard
The church tower appears to be a more separate
object than a component of the Church. Due to
its shape, the tower seems like its incomplete
and misplaced.
Radio mast
The radio mast contrasts the landscape and its
nature, by forcing into it.
Tunnel
The reason for the existence of the tunnel was
to make a connection between the Oberland
and the Unterland. In this way, goods could be
transported by railway wagons between Ober-
land and Unterland.
Hummerbunde
The Hummerbunde are remarkable colored
houses, with a Scandinavian look. They difer-
entiate from the regular residential area on the
island.

Gas station
Though cars are avoided on the island, theres a
gas station situated.
Rescue brigade
Theres a rescue brigade on Hegoland, near by
the port. According to our opinion this place
can be(come) more valuable than it is now.
Thats why we choose to elaborate this place.
Bungalowpark
The bungalowpark is the only living area on
Dune. Its located near the airport but sepa-
rated from all the other touristic attractions.
Trafc light
The strange location of the trafc light is on the
beach, making people wait when a plain has to
land or take of.
Dunerestaurant
Dunerestaurant has a curious appearance. It
looks more like a technical building then a res-
taurant.
Airport
The airport is located next to two bungalow
parks. The footprint is quite large compared to
the island but rather small for an airport.
Lighthouse
The lighthouse is located in the middle of the
beach. Therefore it isnt visible from every direc-
tion.
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INVENTORY
14
1
202 ADSL 2012 [TRANSFORMER] ADSL 2012 [TRANSFORMER] 201
Te referendum about the connection
of Helgoland-Hauptinsel and Dne
proposed more land-surface creating room
for more living area and a revival of the
tourism. Te proposal didnt conform to
Helgolands lifestyle. Terefore the
archipelago of entities with each its own
specifc conditions would be transformed
into a single island where the variation
would blend into one homogeneous reality.
More land would reduce the real estate
value of the existing available land.
Land-reclamation by means of spraying
sand dredged from the bottom, is both
destructive to the ecosystem of the
sea-bottom where the sand is dredged
from and buries any original trace of the
sea-bottom at the location where the sand
is dredged to under meters of poor soil.
Te addition of an extra island (a polder)
on the contrary, would reinforce the
archipelago. Each island with its own
unique characteristics maintains its
autonomous identity on several levels. By
keeping separate their respective proper-
ties, the natural, social and cultural
diversity of Helgoland remains unafected.
Te additional polder-island contributes to
the diversity with yet another condition.
Te proposal creates more land, to ofer
the possibility for development, while also
preserving the characteristics of an
archipelago, consisting of the two existing
entities Hauptinsel and Dne, joined by a
third entitity a polder. Te increased
land-surface in the polder ofers the
desired cheap land, without disturbing the
real estate on existing Hauptinsel. Te old
seabed is revealed in the polder, ofering an
opportunity for archeological research and
no remaining sea-bottom is disturbed by
dredging.
So, a new proposal for a third independent
island embraces the existing archipelago: a
Helgoland of three entities and new spaces
in-between. Terefore the question for a
new referendum for Helgoland:
Are you in favor of a third entity, a polder,
to participate in the archipelago of
Helgoland?
Sind Sie dafr, einen dritten Teil (einen
Polder) zu dem Helgolnder Archipel
hinzuzufgen?
[ ]
TRANS_FOR_MORE
W #09
[ ]
INTRODUCTION
Spyridon G. Kaprinis was born in
Tessaloniki, Greece. He completed his
graduate studies at the University of
Westminster, London, and at the Architec-
tural Association, London. From
until he was a teaching assistant at the
Aristotle University of Tessaloniki,
Greece .He completed his postgraduate
studies with a Master in Architectural
Design with Distinction from Te Bartlett,
U.C.L., London [ -] and a Master
in Architecture and Urbanism with
Distinction from the Architectural
Associations Design Research Laboratory
(AADRL) [ ].
Maria G. Tsironi was born in Athens.
She completed her studies at the Aristotle
University of Tessaloniki [AUT] and at
TU Wien, and received her Diploma in
Architecture in [AUT | st Honors].
She has also been awarded the Michelis
Foundation Scholarship []. She
received her Master in Architecture and
Urbanism with Distinction from the
Architectural Associations Design
Research Laboratory (AADRL) [], and
has recently had a book published, entitled
Spiritual Immersion and Metamorphosis:
Subtraction through Degradation.
Tey are both currently working at Zaha
Hadid Architects, London, U.K.
[ ]
WORKSHOP
Te notion of the sketch appears to be
extremely congruent with the idea of the
transformer. Te painstaking process of
analogue and digital sketching produces a
variety of intuitive and transformable lines
and images, which form and demarcate a
wealth of architectural thinking typolo-
gies. Trough the development of a
process of narratives, architects and
designers take part in a transformative
itinerary that plays a key role to the
discovery of novel techniques and
concepts: this infuences and enriches their
aesthetic interpretation, formal manipula-
tion and refnement skills, and, thus, helps
them achieve a better understanding of
their own, self-refective architectural
interpretations of their surrounding
environment. Te objective of this
workshop is the following: through a
process of notation, motion, participation
and scale shifing the students will engage
in an exercise of visual memory, tracing
and palimpsest layering, which will
eventually result in an artefact, space or
atmosphere that will evoke the transforma-
tional process which has generated it.
Follow_the_path_of_EXPIERIENCE
Adelaide Versluys
Nikita Joly
A Place with an Impact
By taking a distance of the city (that is
yours) you can get a better look at this city.
Taking a step backwards gives you the
possibility to have a better look at yourself.
Antwerpen - Linkeroever
Manmade - Nature
Mirrors can make manmade objects
become part of nature
A Story of Refection
We followed a specifc path on the bank of
Linkeroever. Meanwhile we took pictures
while holding a mirror in the scene,
creating new images and object by holding
the mirror in the right place or in the right
angle.
Tis path was cut in separate pieces,
because of their diferent in experience.
Aferwords, the paths were places together
again, in a diferent kind of structure. Tis
new structure was based on the shadow
created by the crane-monuments at the
new emplacement of the pier, at the
city-side.
Te End
Te main concept of the pier is the
experience of it, in stead of the actual pier
itself. Each pier has its own type of
experience, because of the form of the
path, the emplacement of the mirror, the
refection in the mirror, the shape and size
of the mirror.
But also the material of the path-foor, who
can have impact on the walk-pace enabling
to have another look of the scene.
Tus it may happen that horizontal
elements blend into vertical elevation,
creating the frame, mirror and path into
one.
Transform into a pier
Amber De Beule
Karlijn Jansens
Liselotte Schoenaers
Marlies Van Wuyckhuyse
A pier can be used as a resting point, or as
a tool to go from point to another. Its a
place where people arrive and depart. It
can be a start point or an end point.
Te building the MAS, is the inspiration
for our idea. We zoomed in and saw a
prominent detail of the building, the
hands.By investigating the hand, we tried
to fnd an idea for a pier.
With your hands you can do sign language,
these are all kind of movements. By
spelling the word transform in sign
language you get diferent motions.
We translated these movements to abstract
lines. We overlayed the lines to create a
movement diagram. By positioning the
diagram on the map of the site we formed
our personal designed pier in relationship
to an important walking route around the
dock.
From memory to imagination
Mohammed Ahsen Jamil
Scott Desert
Elene de Kort
Scott Peeters
Movement in the city
Our concept is about the city and her main
movements. We frst started with analysing
common and obvious movements to more
abstract or invisible ones, such as the
riverfow (water), trafc (cars + pedestri-
ans), cranes, old tramlines and the wind.
Working with three diferent scales of the
city - macro, meso & micro - we layered the
diferent movements, shifing between the
scales and selectively overlapping them to
develop our forms as an abstraction of the
movement within the city.
Te fnal scale presents the site which has
four prominent elements: the london-
bridge, the two westkaai-towers, the
fandria-station and the mas in the
background.
Combining the layers
Trough a process of shifing scales and
abstract layering, our form is mapped onto
the site.
Te result is a shape which combines the
two main movements in Antwerp: the
Schelde and the Singel (river and trafc
road).
We repositioned and puzzled the created
shape in the dock, marking the overlap-
ping points.
Structure
We took inspiration from looking closely
at the structure and movement of the
cranes near the docks. Te similarity of the
lines within the urban layers of the roads
and cranes is quite striking. A de-construc-
tive process of breaking up the crane
structure (responsive to gravitational
forces) and repositioning with in a style
similar to its intended movement has
informed and developed a three dimen-
sional approach with a notion of move-
ment.
Decorosion
Enea Facoetti
Tom Van Reybroeck
Decorosion investigates the relation
between decoration and the form or
patterns which are created by rust. Both of
them are afecting the metal according to
precise rules. Te foral decoration
represents nature, but in an artifcial way,
while the corosion is the direct conse-
quence of nature itself. Te work that the
rust is doing on the surface may be as
beautiful as manmade decoration. One
might look at it as rust mushrooms, others
might suggest these are beautiful, new
forms to represent nature, thus becoming
rust fowers. Te beauty of the rust
fowers comes from the sublime. Te rules
guiding the rust are there, but they are
hard to interpet. When nature takes over
you are losing control over the metal. Te
only solution you have is to replace or
repair the panel. Fascinated by the beauty
and irregularity of the shapes created by
the rust we did an empirical research by a
photographic survey.
In our research we looked for grids we
encountered on our way to the shelters on
the waterfront. In a way the grids are the
opposite of the rust fowers. Te grid
represents the ratio, the rust represents
nature and is guided by the sublime. Te
objects of the survey are regular patterns
where the rust is connecting the points
creating a matrix or dealing with the
pattern by contrast. When rust comes into
play it starts to attack the weakest points
on the surface. In this way the rust is
creating a logical path onto the surface of
the grid. Later in time it starts to connect
or reduce the holes in the grid and thus
creating a matrix.
Secondly we focused on the panels of the
shelter taking pictures with a digital
camera, reducing the light and concentrat-
ing only on the forms of the rust fowers.
By doing this we were able to map the
most damaged panels in the roof of the
shelter. In the next step we concentrated by
parametric progam all the rust fowers
into one stripe.
Te project extends the original shelter
with a new one covering the path between
the southern shelter and the river. Te goal
i to reuse the dqmaged panels of the north
shelter,which may be replaced, to realise
the new extention as public space design.
Te surface
Trance_for_more
Barrington Lambert
Tibault Trouv
Direct fow, break it or even generate it.
Tose are several aspects bound to the
function of a pier or a breakwater. Tere is
a very linear pattern to be found in the
actual function of a pier or breakwater.
While one connects A to B in a straight
line, the other gives a direct answer to the
one-way pressure of the ocean which sole
desire is to expand his area.
Is there a way to use those dynamics in
settings that transcend their usual
purposes. Can we add value or rethink
those linear patterns or at least change the
context and scale so it becomes an
interactive tool used in and out the city, for
and by everyone.
We tried to design a mechanical element
that allows to defne space as well as a
direction or a view. It is not restricted to a
binary on-of mode but should gradually
deploy, so even more ways of use are
discovered along the way.
[ ]
TO WEAVE OR
NOT TO WEAVE?
W #10
[ ]
INTRODUCTION
John Lonsdale is a thinker and
sculptor of landscapes using buildings as
the means to give shape to my art.
Te practice was founded in by
Northumbrian born architect John
Lonsdale and is based in both Amsterdam
and Northumberland. Apart from the
design of buildings the range of commis-
sions has grown over the last few years
from the scale of a table to a spatial
planning strategy for Almere Oost.
When needed he collaborates with
specialists brought in from outside. Tese
include building engineers, building
construction advisers, cost experts, land
surveyors, industrial designers, historical
geographers, archaeologists, writers,
biologists and photographers.
In he lived for a year on a nature
reserve before graduating from the
Architectural Association in London in
. He is currently teaching at the
Rietveld Academy and the Academy of
Architecture in Amsterdam as well as
being invited to lecture and run workshops
in the Netherlands and further afeld.
In he was awarded the Prix de Rome
for Landscape Architecture and Urbanism
for his work called Shifing Horizons, a
study into listening to the land and how
not to resist the forces of nature but to live
with them. His work is supported by the
Netherlands Architecture Foundation, the
Department of Landscape Architecture of
the Technical University of Delf, the
Dutch Water Authority and Vereniging
Natuurmonumenten.
In the Netherlands the practice follows the
DNR (Te New Rules ) which
establishes the legal relationship between
client, architect, engineer and consultant.
[ ]
WORKSHOP
Top
Basket-weaving
Bottom
Course de lhomme
tienne-Jules Marey
Pathways are lines along which movement
proceeds. Whether drawn on paper or
marked on the ground the lines can also be
perceived as limits within which move-
ment is bounded or contained.
Tim Ingold argues in his book Te
Perception of the Environment that the
perception of a building is less a gathering
together of boundaries within which space
is occupied, but more as a vessel describing
lines of movement connecting moments of
lives led through, around, to and from
places. Te workshop intends to investigate
the registration of involuntary or non
self-conscious movements along lines to
and from places.
Ingold argues that it is as wayfarers that
human beings inhabit the Earth, not as
place-bound inhabitants but as place-
binding inhabitants. Te environment
unfolds he says, not in places but along
paths; Proceeding along a path every
inhabitant leaves a trace. Where inhabitants
meet, traces are entwined, as the life of each
becomes bound up with the other. Every
entwining is a knot, and the more that
lifelines are entwined, the greater the density
of the knot.
Early registrations of movement captured
on photographic plates by Marey and
Muybridge will be drawn upon for
inspiration. As well as hand-drawn
tracings, more contemporary techniques
for registering movement will include
iPhone apps such as Ik Val Op.
Te registrations will be brought together
to make new knotted lines. Tese will
then form the basis for an architectural
design that explores movement as potential
woven structure. Te environment, and
architecture too, becomes less occupied
place and more knotted moments and
weavings of lines of movement and
pathways along which life is lived.
In so doing we may choose not to be
place-bound, but place-binding wayfarers
weaving our paths.
Etienne Jules Marey, both a physician and
physiologist, explored the art of capturing
cycles of movement through time in a
single frame. Above is an image of a
runner clothed in black with white ping
pong balls attached to the joints. He frst
began his studies using wet collodion
plates in , later moving on to photo-
graphic dry plates in the s upon their
introduction.
Diagram used to show how to basket
weave.
Top
Reforming the path
Right
Along the way
following students
with a thermographic
camera
Most of the time we think and design in
terms of bounded spaces; rooms,
corridors, streets, squares, parks and so
forth. While British social anthropologist
Tim Ingold states that environment doesnt
unfold in places but along paths or
bounded lines.
Proceeding along a path, every inhabitant
leaves a trace. Our architectural plans are
in this vision plans of our paths. We should
not see them as places and walls, but as
paths we can follow. It is possible to
infuence others with the path you create.
In the workshop we began experimenting
with dierent ways to visualise our paths.
All these projects evolved into one big
action. Tis way we began to weave as a
group. We formed dierent paths that came
together in knots.
By forming our path we interacted with
other people and our surrounding. People
weaved their own path trough ours. Tis
way we realised that whether we want it or
not, intentional or unintentional, we
always weave.
Our goal was not to make or prove any
statements, but to turn statements into
questioning through improvization. Or as
Tim Ingold explains it: To learn is to
improvise a movement along a way of
life. We turned it into doing things and
learning from it. Each time we found new
beginnings that grew along the way.
Top
Taiwan Strait Smart
Region (TSSR), main
map (by CHORA)
Bottom
Taiwan Strait Smart
Region (TSSR), main
map (by CHORA)
[ ]
DOCUMENTING
THE INVISIBLE
W #11
[ ]
INTRODUCTION
Ramiro Losada Amor is a Building
Engineer and Architect. Following his
scholarship studies at the University
Lombart Lambert (Belgium), he moved on
to work experience in the feld of Design,
Architecture, and Urbanism in London
(Alejandro Zaera, FOA) and Rotterdam
(Mecanoo Architecten). Currently he is
researching his PhD at ETS Arquitectura
Madrid, titled Documentary Film
Architecture: Construction of the Contem-
porary Non-fction for XXI Century
Architecture. His architecture ofce is
currently based in Madrid, and has areas
of focus: Experimental architecture (with
awards such as Saloni Interior
Architecture with the project Iniciarte-
ARCO). University teaching (across
various universities of Architecture and
Design such as Escuela de Arquitectura-
UEM and SelfDesign-Universidad Politc-
nica) Audio-visual documentation about
Architecture including several interviews
with architects of national and interna-
tional prestige. He is a co-founding partner
of Studio Banana TV.
[ ]
WORKSHOP
Right
Scenography from
the film Dogville
Several times, flm transforms architecture,
or at least the way the audience views it. Le
Corbusier through the promenade
architecturale started in the image
sequence, which derived in the flm
concept with contemporary projects. A
common observation in the recent history
of Architecture. But the architecture also
transforms the cinema. And its even more
interesting! Dogville (, Lars von Trier)
shows through the abstract representation
of space, as the flm approaches can
transform invisible boundaries in
architectural applications. Te cinema has
become a transformer of the vision of the
immediate areas, architecture or city.
In the workshop ADSL will transform
the invisible elements in our surroundings
in visible devices through cinema.
Do You Really Know Your City
www.youtube.com/watch?v=xsolDcvB6qA&feature=youtu.be
Britt Boschmans
Jasmine Creemers
Julie Moens
Ground floor & First floor
www.youtube.com/watch?v=4BfUP150z1Q&feature=youtu.be
Sara Drowaert
Sigrid Leysen
Timo Moorthamer
Lauren Van Driessche
Velo
www.youtube.com/watch?v=AztUx_mSZmc&feature=youtu.be
Thomas De Ridder
Jenne Gits
Yves Van Dessel
Steven Van Soom
Scheldekantje
www.youtube.com/watch?v=WFDNVcZ_iGU&feature=youtu.be
Thomas Joos
Michelle Kox
Milan Milaux
[ ]
THE CITY:
THE BUILDING:
THE ROOM
W #12
[ ]
INTRODUCTION
Sally Stone MA is the Director of the
College of Continuity in Architecture at
the Manchester School of Architecture. She
teaches studio courses at post-graduate
level concerned with the sustainable
adaptation of the existing environment,
this includes urban regeneration, new
constructions, building re-use, heritage,
interior design, and installation art. She
has been invited to lecture internationally,
to contribute to international workshops
and she is the author of a number of books
and other publications about building
adaptation and interior design.
[ ]
WORKSHOP
Top left
Luigi Olivetti
Top right
Windows
Hammershi Tall
Bottom
Grote Markt
Antwerp
One could look from the campiello through
openings, balustrades, screens, and discern
the garden at the other side and behold
something at once a mystery and reality.
Carlo Scarpa talking about the Fondazione Querini
Stampalia
Architecture is the mediator between the
City and the Room. An act of translation
occurs at the point where the outside
meets the inside. Te window, door or
threshold transforms the nature of the
exterior and moderates it to accommodate
the interior. When viewed from the hostile
environment of the outside, the interior
can possess qualities that are perhaps
ethereal, enchanting or reassuring.
Imagine a crowd gathering in the Grote
Markt, the quality of the light in the
square, the coldness of the damp and
windswept space, look through those
twinkling windows of the tall imposing
buildings, envisage what would be
happening in these spaces, picture the
character of the rooms behind the facades,
create this interior.
Gildehuis 1
Suikerrui
Sophie Lauvrys & Eef Van Meer
Top
Gildehuis 1
Suikerrui
Sophie Lauvrys
Eef Van Meer
Right
Gildehuis 2
Groenplaats
Evy Bouwen
Michiel Dur
Gildehuis 2
Groenplaats
Evy Bouwen & Michiel Dur
Gildehuis 3
Kaasrui
Maxime Bruynseels & Kathy Baeyens
Top
Gildehuis 3
Kaasrui
Maxime Bruynseels
Kathy Baeyens
Right
Gildehuis 4
Hoogstraat
Anneleen Smedts
Yana Van Ingelgem
Gildehuis 4
Hoogstraat
Anneleen Smedts & Yana Van Ingelgem
Gildehuis 5
Hofstraat
Astrid Tiepermann & Kaatje Van de Paer
Gildehuis 5
Hofstraat
Astrid Tiepermann
Kaatje Van de Paer
Gildehuis 5
Hofstraat
Astrid Tiepermann & Kaatje Van de Paer
Gildehuis 6
Braderijstraat
Tine Faasen & Heleen Janssens
Gildehuis 6
Braderijstraat
Tine Faasen
Heleen Janssens
[ ]
ENOUGH IS
ENOUGH!
W #13
[ ]
INTRODUCTION
Mathieu Wellner (, Paris)
received his diploma in Architecture in
Brussels. In he moved to Munich,
where he started to work on several
projects, exhibitions and publications. He
was involved at the Faculty of Architecture
of the Technische Universitt Mnchen
between and . From to
, he has been coordinating the
architectural projects for the Haus der
Kunst in Munich, responsible for a
common study by AMO and Herzog & de
Meuron and for Ai Weiweis architectural
projects in the exhibition so sorry. In
he joined the chair of architectural theory
at Innsbruck University as a researcher. He
is co-director of the Wiederhall Founda-
tion in Amsterdam and co-founder of the
Q+A-panels in Munich. Currently he is
curating, lecturing and publishing.
[ ]
WORKSHOP
Top
enough is ebough !
Mathieu Wellner
Bottom
collage-Mathieu
More than years ago Henry David
Toreau, the author of the famous essay,
On the Duty of Civil Disobedience, claimed
that individuals should protest against
government that overrules their con-
science. Te conscience, the intelligence,
and the heart should be the main reason
for decision making for matters of both the
public and private realms.
Today, one would think that this is the rule
rather than the exception. In fact, its not.
Tere hasnt been a major protest
movement since May , but instead a
long period of wealth and pragmatism that
formed an almost apolitical society of
uncritical hedonists.
Tis apparently changed when Stephane
Hessel published his philippic, Time for
Outrage! (Indignez-vous!), in September
, when a few months later the Arab
Spring revolutionized politically many
countries in the Middle East and when the
Occupy Wall Street movement started to
challenge the politics and policies of the
western world.
Society has been jarred from its apathetic
slumber, bringing everything into
question.
Today, even architecture has to reality. It
seems that architectural designs are
increasingly trimmed by regulations; the
work of an architect becomes mainly to
avoid the worst. At the same time,
architects are liable and responsible for
everything. Te terrible truth nowadays is:
Form follows the law. Its time to say:
STOP - enough is enough!
In this workshop we will put up resistance
and overcome opposition.
Students will question their own educa-
tional system, make contra-projects, and
meet with architects to learn about
problems in pratice.
We live in historic times. As both architects
and citizens, we will protest.
[ ]
LIST OF NAMES
Lectures
IMAGINATION,
TRANSFORMATION
AND PLACE
Mark PIMLOTT
CHANCE
Anne HOLTROP
A CITY IS (NOT)
A TREE
Cino ZUCCHI
CRAFTSMANSHIP
TRANSFORMED
Irene CURULLI
TRANSFORMING THE
PAST INTO HERITAGE
Gregory ASHWORTH
OBJECTS AND
TERRITORIES
Andrea BRANZI
RUINS
Alexander BARTSCHER
Hester Houweling
Hilke Baart
Ines Baart
Jef Driesen
Juri Jansen
Leonard Wertgen
Lieven Vansant
Michael Bracke
Mira Rooman
Nathalie Dekeukelaere
Philipp Heuken
Senne Van Tricht
Steve Wilkin
WILL THE OBJECT
BE TRANSFORMED
BY A TRANSFER OF
CONTEXT?
Cyrille BERGER
Laurent BERGER
Jorge Garcia Aguado
Alexandra Gruber
Gert Guldentops
Sybil Kennes
Elisa Pascotto
Sophie Peronnet
Jorien Schaepherders
Stijn Segers
Marcella Twiest
Olivia Van Damme
Nathalie van der Sterren
Dennis Van Reeth
Gilles Vanneste
Koen Willemsens
HABITUS
Lorenzo BINI
Saba Cuyckens
Julie De Raedt
Chlo Dillen
Glay Gldemir
Klaartje Kempenaers
Caroline Livens
Bieke Moelans
Pauline Stuyck
Ben Van Dessel
Charlotte Vandeplassche
Nele Verbeke
FROM BED TO STREET
Josep BOHIGAS
Daniel CID
Julie Boliau
Wim Boons
Vincent Caluw
Eline Debruyne
Caroline Fransen
Fabio Iturrospe
Justine Piedfort
Talia Prims
Lynn
Samuel
NONUMENTS
Graeme BROOKER
Anneleen De Witte
Thomas Dewaele
Thomas Fonken
Jan Jacobs
Alison Johnson
Lore Maes
Johan Michiels
Long Than Phan
Edward Van Loocke
Kenn Van Overveld
Joke Verbeke
Asha
PUBLIC SPACE
ACUPUNCTURE
Helena CASANOVA
Jess HERNANDEZ
Erika Baluw
Fien Batens
Tom De Putter
Corinna Del Bianco
Stphane Kaczmarek
Antoinette Mas
Laura Meulemans
Paolo Migliori
Nicolas Mossoux
Yakira Pouillon
Dries Ramaekers
Elisabeth Stellfeld
Charlotte Tersago
Niels Theunis
Wim Van De Meirssche
Kaurie Vleugels
Matthias Zaman
H IS FOR HOUSE
Christian FRHLICH
Ruud Aerts
Simon Claessens
Nicolas Debuyst
Liesbeth Donckers
Ferdinand Fritz
Jeroen Geys
Christopher Ghouse
Julie Jonckheer
Franziska Kuferle
Thomas Niederberger
Eline Raaymakers
Stijn Rybels
Vincent Van Baelen
Ellen Van Den Brande
Nikola Znaor
HELGOLAND
Filip GEERTS
Wannes PEETERS
Gulay Aydogan
Sophie Beenens
Frank Botman
Didier De Roeck
Maarten De Werk
Sigert Defrancq
Sarah Eilers
Dieter Eysermans
Sebastian Haufe
Laurens Lafaille
Machteld Phlips
Aenne Seib
Geraldine Somers
Stef Verhees
TRANS_FOR_MORE
Spyridon KAPRINIS
Maria TSIRONI
Mohammed Ahsen Jamil
Amber De Beule
Elene De Kort
Scott Desert
Enea Facoetti
Karlijn Jansens
Spyridon Kaprinis
Barrington Lambert
Scott Peeters
Liselotte Schoenaers
Thibault Trouv
Maria Tsironi
Tom Van Reybroeck
Marlies Van Wuyckhuyse
Workshops
TO WEAVE OF NOT TO
WEAVE?
John LONSDALE
Asha Biant
Rik De Coster
Jef De Feyter
Raf Geysen
Femke Gommers
Josep Malonda Vizcarro
Hendrik-Jan Roest
Frank Stabel
Amber Van de Weyer
Dina Van der Donck
Leslie Van Laer
Kim Van Pelt
Yasmin Verbist
Jochen Willaeys
DOCUMENTING THE
INVISIBLE
Ramiro LOSADA
Britt Boschmans
Jasmine Creemers
Thomas De Ridder
Sara Drowaert
Jenne Gits
Thomas Joos
Michelle Kox
Sigrid Leysen
Milan Milaux
Julie Moens
Timo Moorthamer
Yves Van Dessel
Lauren Van Driessche
Steven Van Soom
THE CITY: THE
BUILDING: THE ROOM
Sally STONE
Kathy Baeyens
Evy Bouwen
Maxime Bruynseels
Michiel Dur
Tine Faasen
Heleen Janssens
Sophie Lauvrys
Anneleen Smedts
Astrid Tiepermann
Kaatje Van De Paer
Yana Van Ingelgem
Eef Van Meer
ENOUGH IS ENOUGH !
Mathieu WELLNER
Joris Bootsma
Joris Buys
Laura Derboven
Yari Dockx
Niklas Fanelsa
Sofie Geens
Sophie Michoel
Anastasia Missotten
Nick Mols
Filip Pacque
Domenico Remes
Laura Sainderichin
Sophie Thielemans
Kristijn Van Riel
Freya Winkelmann
Koen Van De Vreken
prof. arch. Dean College
of Design Sciences,
Artesis, Antwerp
Ben Daems
External Relations Officer
Christian Kieckens
prof. arch. Curator ADSL
2012,
Inge SOMERS
Maria LEUS
Graphic Design
Ben Vervoort
Maarten Lambrechts
Representatives of the
Student Council 2011-
2012
Organisaton
[ ]
INDEX
Gregory Ashworth
Gregory Ashworth was
educated at the Universities
of Cambridge, Reading and
London (PhD.1974). He
has taught at Universities of
Wales, Portsmouth and since
1979 Groningen. Since 1994,
he is Professor of heritage
management and urban tourism
in the Department of Planning...
more on 56
Alexander Bartscher
Alexander Bartscher is an
architect based in Aachen.
Together with his wife Elisabeth
Bartscher he founded the studio
PONNIE Architecture/Images,
focussing on architectural
visualisation in 2009...
more on 70
Cyrille Berger &
Laurent Berger
Laurent Berger, visual artist
graduated from Ecole Nationale
Suprieure des Arts Dcoratifs
(Paris) and Cyrille Berger,
architect graduated from
Ecole Nationale Suprieure
dArchitecture de Paris La
Vilette, have been collaborating
since 2006...
more on 106
Lorenzo Bini
Lorenzo Bini (1971) was born
and educated as an architect
in Italy where he graduated in
1998. In 2000 he moved to The
Netherlands to work for West8
Urban Design and Landscape
Architecture. In 2003 he
returned to Italy and co-founded
studiometrico,...
more on 124
Josep Bohigas
Architect based Barcelona. In
1990 he created the architecture
studio BOPBAA together with
Iaki Baquero and Francesc
Pla. Their work includes urban
design, architecture, ephemeral
design, as well as curators of
different cultural projects...
more on 142
Andrea Branzi
Andrea Branzi (Florence, 1938)
is a designer, architect, theorist,
lecturer, publisher and creator
of exhibitions who is based
in Milan. In his early years he
played a leading part in the
development of the radical
Italian architecture scene that
thoroughly reshaped design
and architectural history...
more on 62
Graeme Brooker
Graeme Brooker is a designer,
academic and writer based
in the UK where he teaches
studios in Interior Architecture
at the University of Brighton. He
has written extensively on the
design of the interior and the
reworking of existing spaces
and buildings and is the co-
author of a number of books...
more on 150
Helena Casanova &
Jess Hernandez
Both born in1967, Madrid
and graduated in 1997 at
the Faculty of Architecture
ETSAM in Madrid. Helena
Casanova worked for West 8
and Neutelings-Riedijk, Jess
Hernandez for West 8...
more on 164
Daniel Cid
Scientific director of ELISAVA
Higher Design School,
Barcelona.PhD from Universitat
de Barcelona, where his
research focused on the
phenomenon of domestic
matters and personal
experience...
more on 142
Irene Curulli
Irene Curulli is assistant
professor in architectural design
at the University of Technology
Eindhoven, The Netherlands.
At the Tu/e she is also carrying
out a research on the topic
of transformation of industrial
waterfronts along the canal
zones of the Brabant region,
The Netherlands...
more on 50
Christian Frhlich
Christian Frhlich studied
architecture at the TU Graz.
Works in between architecture,
art and media. Teaching
experience since 1998.
He taught Visual Design,
Architecture and Film and
Design Studio at the Grazer
Schule...
more on 180
Filip Geerts
Filip Geerts (1978) graduated
cum laude from the Delft
University of Technology in
2001. As Assistant Professor
of Architecture at the TU Delft
since 2004, he is an educator
and researcher responsible
for the program Territory in
Transit...
more on 190
Anne Holtrop
Anne Holtrop (b. 1977,
The Netherlands) studied
architecture at the Academy of
Architecture in Amsterdam from
1999 to 2005. After graduation,
and still resident in Amsterdam,
Holtrop set up his own practice,
being twice awarded grants
from the BKVB Fonds...
more on 38
Spyridon Kaprinis
Spyridon G. Kaprinis was
born in Thessaloniki, Greece.
He completed his graduate
studies at the University of
Westminster, London, and at
the Architectural Association,
London. From 2002 until 2005
he was a teaching assistant at
the Aristotle University...
more on 208
John Lonsdale
The practice was founded in
2004 by Northumbrian born
architect John Lonsdale and is
based in both Amsterdam and
Northumberland. Apart from the
design of buildings the range of
commissions has grown over
the last few years from the scale
of a table to a spatial planning
strategy for Almere Oost...
more on 224
Ramiro Losada
Ramiro Losada Amor is a
Building Engineer and Architect.
Following his scholarship
studies at the University
Lombart Lambert (Belgium), he
moved on to work experience in
the field of Design, Architecture,
and Urbanism in London...
more on 232
Guest Professor
Wannes Peeters
Wannes Peeters (1986)
graduated magna cum laude
from the Artesis University
College, Antwerp (2009) and
is alumnus from the Berlage
Institute, Rotterdam (2011).
While studying he was selected
to participate in the 2010
Meesterproef...
more on 190
Mark Pimlott
Mark Pimlott (Montral, 1958)
is an artist and architectural
designer. Trained both as
an architect and a visual
artist, he works within and
across the disciplines of art
and architecture, and uses
his interpretations of both to
influence the making of each...
more on 14
Sally Stone
Sally Stone MA is the Director
of the College of Continuity in
Architecture at the Manchester
School of Architecture. She
teaches studio courses at post-
graduate level concerned with
the sustainable adaptation of
the existing environment...
more on 244
Maria Tsironi
Maria G. Tsironi was born in
Athens. She completed her
studies at the Aristotle University
of Thessaloniki [AUTh] and
at TU Wien, and received her
Diploma in Architecture in 2008
[AUTh | 1st Honors]. She has
also been awarded the Michelis
Foundation Scholarship
[2008]...
more on 208
Mathieu Wellner
Mathieu Wellner (1972, Paris)
received his diploma in
Architecture in Brussels. In
2002 he moved to Munich,
where he started to work on
several projects, exhibitions and
publications. He was involved at
the Faculty of Architecture...
more on 252
Cino Zucchi
Cino Zucchi was born in Milano
in 1955; he graduated at M.I.T.
in 1978 and at the Politecnico
di Milano in 1979, where he
is currently Chair Professor of
Architectural and Urban Design.
He has taught architecture at
many international seminars
and has been visiting professor
at Syracuse University and at
ETH in Zrich...
more on 44
Chance
Throughout history many
cultures have seen chance as
having a sacred and magical
power. Greek mythology, for
example, tells us how Tuch, the
goddess of chance, is superior
in her say about peoples fates
to that of all other gods...
more on 40
A city is (not) a tree
The geological and biological
metaphors recurring in
contemporary urban theory
seem to hide the fear we are not
able to produce environments
with the second nature feeling
of traditional cities, which today
we can only reproduce as
commercial caricatures...
more on 46
Craftsmanship
transformed
Craftsmanship is the skill aiming
at the design and creation
of artefacts requiring a high
degree of tacit knowledge as
well as a highly technical and
specialized equipment for their
production. Craftsmanship is
based on manual work...
more on 52
Imagination,
transformation
and place
The word transformer suggests
a locus, device or event through
which an entity or force is
changed into something other,
in an instant. A place is made
by ascribing significance to a
part of the world...
more on 16
Objects and territories
The exhibition consists on the
one hand of written material,
models and a film that look
explicitly at architecture: No
Stop City (1968), the New
Chartres of Athens (2010) etc.
This is encircled by designs for
various utility objects: Trees
(2011), Animale Domestici
(1985) etc...
more on 64
Transforming the
past into heritage
The past, by definition, is gone:
it is not here to be re-lived or
experienced and it cannot
be inherited, preserved or
bequeathed. It can however
be imagined by the present.
Heritage is a contemporary
creation brought into being
by the present to serve the
political, social, economic...
more on 58
Lectures
Workshops
The City: the Building:
the Room
One could look from the
campiello through openings,
balustrades, screens, and
discern the garden at the other
side and behold something
at once a mystery and reality.
Architecture is the mediator
between the City and the Room.
An act of translation occurs
at the point where the outside
meets the inside...
more on 242
Documenting
the Invisible
Several times, film transforms
architecture, or at least the
way the audience views it.
Le Corbusier through the
promenade architecturale
started in the image sequence,
which derived in the film
concept with contemporary
projects. A common
observation in the recent history
of Architecture...
more on 234
Enough is enough !
More than 150 years ago Henry
David Thoreau, the author
of the famous essay, On the
Duty of Civil Disobedience,
claimed that individuals should
protest against government that
overrules their conscience. The
conscience, the intelligence,
and the heart should be the
main reason for decision
making for matters of both the
public and private realms...
more on 254
From bed to street
The starting point of our
exercise is a space that already
exists in the School, the door. A
door, which is also a house. We
invite you, students, to become
the inhabitants of this place, to
TRANSFORM it into your home
so that later you can turn the
experience into a project...
more on 144
H is for house
An Eye for Optical Theory
Building a View Finder in order
to produce a series of Video
Paintings by following a set
of rules and thus transform
an interior space whose
Transformation can be seen
only by observing the space
through the View Finder which
finally has become a screen...
more on 182
HABITUS
Is it really true that The cowl
doesnt make the monk? Were
Corbus spectacles merely
functional or were they also a
professional statement? Why do
you need to look good in order
to feel good and eventually
play good?...
more on 126
Helgoland
Holy Land in the North Sea. Two
islands, Hauptinsel and Dne
(the first rocky, the latter sandy),
connected until the 1720 storm
surge, rise from the shallow
seabed of the German Bight,
reaching 61m above MSL. The
isolated land formation is an
exception...
more on 192
NONUMENTS
In the nineteenth century, the
philologist Alois Riegl was
concerned with the exploration
of how art forms mirrored there
period and time. He explored
insignificant details such as the
ornamental patterns...
more on 152
Public Space
Acupuncture
In the nineteenth century, the
philologist Alois Riegl was
concerned with the exploration
of how art forms mirrored there
period and time. He explored
insignificant details such as the
ornamental patterns...
more on 166
RUINS
Considering time being
the ultimate transformer of
everything, it is this workshops
aim to examine certain aspects
of temporality in the appearance
of the city of Antwer The many
obvious traces that the process
of transformation has left on the
face of the city...
more on 72
TRANS_FOR_MORE
The notion of the sketch
appears to be extremely
congruent with the idea of the
transformer. The painstaking
process of analogue and digital
sketching produces a variety
of intuitive and transformable
lines and images, which form
and demarcate a wealth
of architectural thinking
typologies...
more on 210
To Weave or
not to Weave?
Pathways are lines along which
movement proceeds. Whether
drawn on paper or marked on
the ground the lines can also
be perceived as limits within
which movement is bounded or
contained...
more on 226
Will the object be
transformed by a
transfer of context?
When transferring the context,
will the object be transformed?
The workshop that we
implement re-examine the
status of the object through
the shift of context. Work
situated on the border of
various artistic fields, visual arts,
design, architecture, sculpture,
graphic...
more on 108
[ ]
This publication is a result of the Selective Course
Publications in the first semester of the master program
2013-2014, Department Design Sciences, Section
Architecture of the University of Antwerp.
ADSL2012 TRANSFORMER is one part of a six-pack
publication on all Antwerp Design Seminars and Lectures
events from 2008 till 2013 as organized by the Artesis
University College Antwerp.
ADSL 2012 TRANSFORMER
Graphic Design
Wouter Antonissen
Hakan Cakaloz
Hannes Hulstaert
Valrie Ruiters
Editor
University of Antwerp
c/o Mustaardcampus,
Mutsaardstraat 31, BE-2000 Antwerp
T +32 3 205 61 70
www.uantwerpen.be/nl/faculteiten/
ontwerpwetenschappen/in-de-kijker/showcase-
studentenprojecten/architectuurwetenschappen/adsl/
2014, University of Antwerp and the authors
COLOPHON

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