panteon media kit

media kitpantheon//

inhoud

3 // architectuurblad door studenten4 // lezerspubliek6 // over pantheon//8 // advertenties op maat10 // advertorials12 // contact redactie

Omslag // inside the pantheon, still a functioning church, fotografie door William BerezaInhoudsopgave // Grande-Duchesse Joséphine-Charlotte Concert Hall, fotografie door Danny Fowler

3p a n t h e o n / / m e d i a k i t 2 0 1 3

Er schijnt een schifting plaats te vinden in de

wereld van architectuurstudenten, zij die door

hun studie heenwandelen zonder om zich

heen te kijken en zij die zich actief mengen in

het huidige debat. De laatste groep is echter

verspreid en heeft van zichzelf geen gebun-

delde stem. Hierdoor gaat een hoop kwalitief,

verrassend en interessant werk onopgemerkt

voorbij aan de rest van de architectuurwereld.

Gemaakt door serieuze studenten, zoekt de

pantheon// zijn ethos in een kritische bena-

dering. Terugverlangend naar een tijd waarin

ontwerpen intellectueel werden uitgeplozen

tot hun essentie en niet gemeten langs de gel-

delijke opbrengst of de meest grafische indruk.

Een blad dat een doorsnede vormt van wat

er zich op en buiten de faculteit bouwkunde

van de TU Delft afspeelt. Maar echter kritisch

genoeg om regelmatig een kijkje buiten de

faculteit te nemen.

De pantheon// is een tweemaandelijks perio-

diek van stylos met vakgerelateerde artikelen,

architectuurblad door studenten

interviews van binnen en buiten de faculteit

en verslaglegging van de activiteiten die stylos

onderneemt. De pantheon//, gedrukt in een

oplage van 2400 stuks op 100% gerecycled

papier, wordt verspreid onder stylosleden, do-

nateurs, sponsoren, architecten en verkocht in

de stylos bookshop en bij NAi Boekverkopers.

Studenten zijn als geen ander in staat om

nieuwe geluiden op te pikken, hier wat mee

te doen of zelf iets te ondernemen. Zoals veel

ontwerpers informeren ze zich door middel

van tijdschriften, volgen blogs en met hun

eigen ogen tijdens excursies en exposities.

Hierdoor is er een constante reflectie op

wat er om hen heen gebeurt en weten ze

wat de omgeving maakt of breekt. Deze

mensen hebben de mogelijkheid de wereld te

veranderen. Waarom moet u gezien worden

in de pantheon//? Omdat de pantheon// een

hoogwaardige studentenpublicatie is die uw

bedrijf of merk elegant en intelligent over

kan laten komen. De studenten van nu zijn de

architecten van de toekomst.//

‘De studenten van nu zijn de architecten van de toekomst.’

Joris Hoogeboom

4 p a n t h e o n / / m e d i a k i t 2 0 1 3

informatie afkomstig van issuu statistieken

lezerspubliek

bedrijven 6%

instituten 4%

architecten 4%

studenten 86%

druk oplage: 2600

Door wie wordt de gedrukte pantheon// gelezen?

pantheon// wordt wereldwijd online gelezenrepresentatieve editie (pantheon// 2008 - avontuur)

unieke pageviews: 22465

totaal aantal lezers: 3635

50 %

25 %

20 %

5 %

foto // Jon Lucas, gepubliceerd in artikel run free, pantheon// #3 - 2010


over pantheon//

stylosDe verslaglegging van de verbredende en

verdiepende activiteiten van de overkoepe-

lende organisatie.

stylos // thema // algemeen

architectuur thematiekActuele maar ook herinterpretaties van archi-

tectuurthema’s door middel van interviews,

essays, artikels en beschouwingen.


6 s t y l o s / / k u n s t / / a l g e m e e n

The Masterclass committee invited Luxembourg architect and urban designer Rob Krier for the third installment of the Stylos Masterclass. Before the start of the accompanying symposium ‘Composing Urban Space’, pantheon// committee 2011 had the chance to sit down with him about his work, tradition and modernism.

Jurgen Beliën

interview with Rob Krier

You seem to be quite active in the Netherlands,

with projects in Amsterdam, Almere, The

Hague, Helmond and Beverwijk. In your book

Town Spaces you write that developers here

have had much success with your designs.

Is there a reason Krier Kohl Architekten is so

active in the Netherlands?

The success does not come with the promoters,

but through the buyers of the houses. For

example, I started a design in Helmond, and at

the same time Teun Koolhaas, a cousin of Rem,

was responsible for a bigger area for about

20,000 people, close to Eindhoven. We had

a parallel presentation at Piet Blom’s theatre

in Helmond, in front of a major public, at the

beginning of our design. Teun had 150 meter

long row houses, all black and white, extremely

radical, without any idea about an urban space

in between. And all the things identical, just like

machines, while in the mean time, the Vinex

locations in the Netherlands had this kind of

variety with for instance the inclination of the

roofs. The trick is to �nd with the budget of

low-cost housing a di�erentiation of houses.

What I proposed in Helmond, with support

of the mayor, was to invite young architects,

maximum 45 years old, to a private competition

on the site. We selected 12 di�erent young guys,

and everyone made a design for a house. Then

we decided as a team with all the maquettes

together how it could work. This was just for

the �rst block. The promoter had no idea if this

could be a good product for the market, because

a city centre with only row houses and where the

streets are continuous and have a maximum of

14 meters with trees and parking, that wasn’t

done before. Not even in new Vinex locations,

where a lot of streets are cul-de-sacs. During

a building material exposition in Eindhoven,

in a industrial hall, they made 1:1 prints of the

designs of the houses on panels. When standing

there, you got the impression you were standing

on a piazza. On the ground �oor of the houses

they opened bars, butcher shops and bakeries

and so on. During three weeks they had this

arti�cial scenario, showing a piazza, and the

people could see the maquettes. My students

in Vienna built a model on the same theme of

�ve by �ve meters, in the scale 1:100. Everybody

had the impression that that was an existing

plan, and people asked what the prices where

for the houses, while those were student works.

After these three weeks, we had 700 candidates

who wanted to buy a house in that �rst building

block in Brandevoort of 70 house. That was a

success. And of course, immediately after that,

the second block was designed. It is the same

as having a bakery, and people line up every

morning because you the best product. That’s

the only mystery behind it. Of course we made

the ground �oors high enough, so people could

convert them into shops, which happened

immediately.

The last sentence of the introduction of Town

Spaces reads: “We are on such a lonely guard

duty with the defence of traditional urban

design that I �nd it is a wonder that in the

Netherlands of all places, one of the most

progressive and modern countries in Europe,

this theme is not only openly and seriously

discussed, but also put to the test.” Why might

this be?

That is your culture, you are trained over

centuries to be open-minded. You accept

di�erent philosophies, di�erent ideas, and you

can live together with them. The Germans are

so radical. The Dutch were seafaring people and

being tolerant was good for them. But I have to

add something. Some weeks ago we came from

Mexico, and I have never seen a city like Mexico

City with such a modern, popular tradition. A

tradition according to De Stijl and Bauhaus. In

the �fties, the �rst houses were done by a not

so known collaborator of Le Corbusier. He came

back home and built this house for a painter

Riviera. Those houses were the �rst absolute

modern houses, and they were very successful.

More successful than even in the Netherlands,

there is no neighbourhood where you can

refer to The Style, only some lost buildings

somewhere. That means that if you touch

tradition, it could also be modern tradition. It

could even be your tradition in Mexico!

Your work comprises both urban intervention

in old cities as well as designs for new towns,

like Brandevoort. How do these types of

projects di�er from one another, and what

role does history play in the two?

There is no di�erence. There might be di�erent

practical problems, but the theoretical approach

is the same. Of course in new towns, you could

never refer directly to an old city. You would

build normal Dutch houses, with normal

staircases. The Dutch accept a house that is

4.50 meters wide, 6.20 meters is the maximum.

While in Luxembourg a house must be at least

12 meters wide. I made in Amersfoort a block

with single family houses, all 4.50 meters wide

and 4 �oors high. This typology works better

in your country because you’re use to living

a little ‘tighter’ together. In Brandevoort, the

houses were seen as being typical Dutch and

not as an abstract product that could have been

built in Atlanta or Las Vegas. I told those young

‘We had 700 candidates who wanted to buy a house in that �rst building block in Brandevoort of 70 houses.’

7s t y l o s / / k u n s t / / a l g e m e e n

architects to be Dutch, as Dutch as they could

be. They came from the Bossche School, we had

even one of the relatives of Dom Hans van der

Laan. By the way, he was not even the best one.

Looking at some of your projects in the

Netherlands, a ‘traditionalist’ language is

carried over from the urban design to the

architectural design. What would happen for

instance in the Resident, if the architecture

were ‘modern’? Would it have the same spatial

effect, or is the traditionalist architectural

vocabulary a prerequisite?

Well, if you have three times as much money,

you could do modern façades. At that time, in

the eighties, we tried to make the windows a

maximum percentage of the façade, because

of the insulation. Nowadays, people again

make huge glass windows and want to use

solar energy that way, while that would never

function. Of course, sunlight through the

façade will bring some heat in, but when? In the

summer! Another example, in Amsterdam, on

these new harbour islands like Java Island, there

is one area with single family houses. And these

house are a million or more, while our houses are

between 250 and 350 thousand euros. That’s the

di�erence, if you want to do it good. Of course,

modern design with bad detailing doesn’t bring

anything, then we fall back to the quality of the

�fties or sixties.

Current buzzword at our faculty seems to be

complexity, as a potential answer to �exibility.

Basing your design on as much information

as possible should guarantee a better design

solution, while at the same time legitimising

non-regular forms . How do you see this?

It seems like a revival of the sixties, when I was

young. It will pass very quick. You can only do

these fantasies if you have a lot of money. Take

your bedroom and try to be flexible in your

cupboard or bed! There is no need for high

complexity and �exibility. Even if Zaha Hadid

makes beds with slippery forms. In my book

about architectural composition, I constantly

showed my students the parallel evolution of

regular and non-regular forms, but never a

cultural highlight came out of an non-regular

system. Those projects can’t be used by

teaching, because you can do anything if you

can pay for it. Of course, if you have the money,

the social environment and the client, do it. It

happened once with Gehry’s architecture in

Bilbao. But a second time in Denver with Daniel

Libeskind, it didn’t happen. That museum turned

out to be a �op.

Another example is the cinema by Coop

Himmelb(l)au in Dresden. Wolf Prix is a good

friend of mine, but that cinema in a city like

Dresden is such an idiot import from Austria. It’s

a persi�age of the dramatic cultural situation of

that destroyed city. I think it is even a cultural

o�ence. I could not be so super�cial to bring that

kind of stu� to that destroyed city. Es stehen dir

die haare zu bergen. You could do such a personal

reaction in an art installation, or a painting, but

we have a very strong responsibility in our job.

We should ask ourselves “could this be

something that people can built upon for

centuries and centuries?”. This is what happened

with Classical architecture. The Greek temple

was re�ned and evolved over thousand years.

They concentrated on the quality of a column,

which had to be so unbelievably complex,

‘Well, if you have three times as much money, you could do modern façades.’

geometrically speaking as well as technically

speaking. I had a professor who taught us over

two years about how the columns are inclined.

We were twenty years old at the time and we

all thought the guy was a freak. Ten years later, I

understood what he was talking about.//

>> This interview took place on 2 December 2010>> Image by Kramer + Giogoli Photodesign

De pantheon// bestaat uit 3 hoofdonderdelen: stylos, thema, algemeen waarin binnen het

algemene een aantal terugkerende rubrieken zijn.

14 s t y l o s / / l o s i n g g r o u n d / / a l g e m e e n

The rise of the internet might have changed our lives forever, but what can we learn from history in order to better understand the changes that occur in our online life?

Jurgen Beliën

public life, privatized

We seem to have come a long way, and the

twenty-first century seems to have firmly

manifested itself as the century of the true

bottom-up democracy. We feel we can say

anything, share anything, do anything online.

However, considering the tools we are using that

accommodate this behaviour, are we really that

free? What can we learn from our past to better

understand our behaviour?

The forming of modern public life

The form of public life known to us now came

from the eighteenth century, formed by the

rising of the bourgeoisie and the decline of

the aristocracy. This process was particularly

apparent in the two biggest western cities at

that time, Paris and London (Sennett, 1992, p.48).

During this period both cities began to see a rise

in the growth of its population, due to external

migration. This migration flow consisted of

mostly young people, moving to the city alone,

breaking family ties in the process. Adding

to this the disappearance of guilds, and the

complete redistribution of living environments

due to the population growth, where a person

came from, where he or she lived and what his

or her profession was, disappeared as grounds

to ‘classify’ others.

“The material conditions of life in the city

weakened any trust people could place in

the ‘natural,’ routine labeling of others by

origin, family background, or occupation.” (Sennett, 1992, p.60)

The emergence of ‘strangers’ affected how

people met and interacted in public. It created

the need to present oneself, for instance with

clothing:

“What makes 18th Century street wear

fascinating is that even in less extreme

cases, where the disparity between

traditional clothes and new material

conditions had not forced someone into

an act of impersonation, where instead he

wore clothes which reasonably accurately

reflected who he was, the same sense of

costume and convention was present. At

home, one’s clothes suited one’s body

and its needs; on the street, one stepped

into clothes whose purpose was to make

it possible for other people to act as if they

knew who you were.” (Sennett, 1992, p.67-68)

Of course, most important to comparing eight-

eenth century public life with our contemporary

social behaviour online, is speech. Ironically,

the place for people to gather ceased to be

the square.

“The medieval and Renaissance squares

were free zones in Paris, as opposed to the

controlled zone of the house. The monu-

mental squares of the early 18th Century,

in restructuring the massing of population

in the city, restructured the function of the

crowd as well, for it changed the freedom

with which people might congregate.

The assemblage of a crowd became a

specialized activity; it occurred in three

places—the cafe, the pedestrian park, and

the theater.” (Sennett, 1992, p.54)

Interestingly, two out of three places that did

accommodate the gathering of people specified

by Sennett are actually privately run establish-

ments. The result is that the operator of the

establishment could set rules of conduct and

was free to deny patrons access.

“As information centers, the coffeehouses

naturally were places in which speech

flourished. When a man entered the door,

he went first to the bar, paid a penny,

was told, if he had not been to the place

before, what the rules of the house were

[...], and then sat down to enjoy himself.

That in turn was a matter of talking to other

people, and the talk was governed by a

cardinal rule: in order for information to

be as full as possible, distinctions of rank

were temporarily suspended; anyone

sitting in the coffeehouse had a right

to talk to anyone else, to enter into any

conversation, whether he knew the other

people or not.” (Sennett, 1992, p.81)

Apparently, the coffeehouses were acting as a

social leveller.

Later on, in the middle of the eighteenth century,

the mix between people from different social

standing took place in the public park. And

with that, the explicit rules of the coffeehouse

disappeared. The rules of conduct were the

implicit rules of social conduct.

“Taking walks in the park became in turn

the means of maintaining, en masse, that

sociability between classes which the

coffeehouses had formerly provided.” (Sennett, 1992, p.85)

The promise of the internet

The arrival of the World Wide Web early nine-

ties gave everyone the possibility present

themselves to (and share their opinions with)

the rest of the world, granted they had the

technical knowledge. It gave people the chance

to form a new public life, a new public facet of

their own self. The technologies making this

possible were the protocols that served as the

foundation of the internet itself. By design, these

protocols were non-excluding, open means to

communicate with others.

Where a person came from, where he or she lived and what his or her profession was, disappeared as grounds to ‘classify’ others.

15s t y l o s / / l o s i n g g r o u n d / / a l g e m e e n

Much like eighteenth century Paris and London,

people willingly entering the new social dimen-

sion created by the internet, suddenly had to

deal with ‘strangers’, whose exact personality,

heritage or profession were unknown. Again,

like in the eighteenth century this also gave the

people the opportunity to create a new self, an

avatar. People could choose how to specifically

represent themselves. Of course, this was only

the beginning.

The potential of the internet, and it’s prospective

effect on public life is perhaps best shown in

the film We Live in Public (2009). Filmmaker Ondi

Timoner followed internet entrepreneur Josh

Harris and his projects over the course of ten

years. One of these projects, called Quiet, con-

sisted of one hundred people living together in

a bunker converted into a capsule hotel. None

of the ‘rooms’ had doors, but every single one of

them was equipped with a video camera filming

constantly and a television that made the video

feeds from every room available to everyone.

These video feeds were also made public on the

internet. Everything the people in Quiet did was

public. With this experiment Josh Harris tried to

show that people are willing to give up privacy

for public exposure and more specifically fame.

He argued that in the future almost everyone

will make this choice, and he was right.

Fast forward to 2011. The prerequisite of

technical knowledge has disappeared. Sharing

with the rest of the world, by means of status

updates on Facebook and tweets on Twitter, has

become a reflex. The trade-off however is that

our online social life has grown dependent on

privately run corporations, instead of the open

protocols of the beginning of the internet. We

are in a sense trapped, forced to use the social

Sources:

>> Facebook. (2010). Statement of Rights and Responsi-bilities. http://www.facebook.com/terms.php. Last accessed: 11 March 2011.>> Paul, Ryan. (2011). Twitter tells third-party devs to stop making Twitter client apps. http://arstechnica.com/software/news/2011/03/twitter-tells-third-party-devs-to-stop-making-twitter-client-apps.ars. Last accessed: 12 March 2011>> Sennett, Richard. (1992). The Fall of Public Man. London: W.W. Norton & Company, Ltd.>> We Live in Public. (2009). Motion Picture. Interloper Films / Pawn Shop Creatives.

networking platform our ‘target audience’ is

using. Moreover, much like eighteenth century

coffeehouses, these corporations are free to

set rules and terms of use. Facebook (2010) for

instance specifies in its Statement of Rights and

Responsibilities that convicted sex offenders are

barred from signing up to Facebook. And Twitter

now tries to ban others from creating software

to interact with the service, reversing its stance

on third-party software (Paul, 2011).

Looking back at the differences between our

current public life offline and the forming of

this modern public life during the eighteenth

century, we have gained notable freedoms in

sense of self-expression. Naturally, we took these

freedoms to the internet and wanted to share

our lives with the whole world. This gave rise to

a new website and service, the social network.

And unfortunately, due to the fact these these

Josh Harris tried to show that people are willing to give up privacy for public exposure and more specifically fame.

social networks are gatekeepers of all users,

traffic and data on their service, they are by

definition closed platforms. This means that,

as it stands now, we are giving up on freedoms

by using them, no matter how many Egyptians

name their children Facebook.//

The Fail Whale, the error screen Twitter shows when their service is inaccessible.


freelancersRegelmatig is pantheon// het podium voor

gastschrijvers en critici en houdt zo het debat

op peil.


recommended readingMet elke editie van pantheon// worden een

aantal publicaties verkend die bijzonder

relevant zijn voor de thematiek.


@architectInterview met architecten met een bijzonder

oevre gekoppeld aan hun proces en werkom-

geving. Hoe beinvloeden die elkaar?


get inspiredInspirerende nieuwe ontwikkelingen en

dingen die je gezien moet hebben. Blijf up-to-

date maar wel op een tijdloze manier.


38 s t y l o s / / e m e r g e n c y / / a l g e m e e n

a question of ethics ?Laura Maasry

Does Ethics play a role in your design? Is your building Ethically just? These are difficult questions. Such questions may give an apprehensve feeling at the thought of the incorporation of Ethics into the Bachelor Curriculum at Bouwkunde. We must not forget that the importance of Ethics lies in the quest; the asking that needs to take place, in the first place.

case studies demonstrate ethical dilemmas concerning shared

responsibilities and conflicting obligations to clients and the

greater community.

Such courses concern Ethics and Practice, where the goal is to

teach the future architect to make well-reasoned ethical decisions

concerning both the design process and his career.

Other ethics-based courses include the University of Arizona’s

Land Ethics, which teaches a profound approach to the issues

concerning the environment, not merely through the ‘sustainable

= good’ model, but by analyzing and playing with concepts in

speci�c �elds, for example looking separately at geology and

hydrology.

As a matter of fact, there is nothing particular to the presence of

Ethics in the practise of Architecture. Ethics courses are o�ered in

a range of disciplines, creating a spectrum of professionals. This is

simply most professional careers are subject to Ethical dilemmas.

One might even argue that the existence of such dilemmas is

nothing unique and is to be expected in the professional life of an

Architect, where multiple parties’ interests are at stake.

Ask Yourself, Why?

The real interesting ethical questions lie in the bigger context,

those questions concerning the movements and ideologies that

develope and change throughout history. These questions put

the Architect’s role in society is a point of criticism, rather than

accepting it as a given fact. This way one can achieve a broader

understanding of our discipline and gain a truly critical design

approach.

To appear in the four upcoming editions of the Pantheon, this

column brings a few contextual, sometimes historical, aspects

Let’s talk about Ethics

On Friday March 10, a heated debate took place at Bouwkunde

concerning the incorporation of Ethics courses into the Architecture

Bachelor program. Visiting professors and Architects from Europe

and the United States were present, each contributing personal

views regarding content and approach to Ethics in Architectural

Education.

The debate revealed di�erent interpretations and possible ways

relating Ethics to Architecture . Ten minutes into the discussion, it

was clear that it is not a simple matter, especially when it comes to

how this can best be applied into university education. How, where

and why at Bouwkunde?, one asked.

One point where all participants decidedly agree upon was that

the teaching of Ethics allows for students to develop important

critical thinking skills as well as the ability to verbalize this thought.

The conclusion that a course in Ethics would be an appropriate

and ful�lling addition the curriculum at our faculty was concretely

drawn.

You might think to yourself, Ethics and Architecture? A strange combination. Super�uous, unneccesary, unrelated, or self-evident? I am completely in support for required course(s ) in Ethics at Bouwkunde because I think this will help students gain the ability

to put their education and the �eld of Architecture, in perspective.

Rhetoric vs Argumentation

Anybody who has spent a number of intensive weeks on a design

project has a story to tell,. This is generally referred to as our ‘concept’.

But what the concept often lacks is an analysis of the deeper

consequences, societal implications for example, of the project.

This is not to say that every building should and will possess such

implications, but re�ection upon such matters is necessary to create

a good design.

The ability to defend, with good reason, the decisions one has taken

during the design process helps one critically pose the most imporant

- and also the most di�cult question of all: should it be built?

Unique, or the Norm?

The Faculty of Architecture at Harvard University recently added

Ethics courses into its curriculum. The institute has proposed a

proclaimed unique curriculum involving case studies based an actual

episodes involving dilemmas faced by practicing architects. The

39s t y l o s / / e m e r g e n c y / / a l g e m e e n

in Architecture to light and discusses the Ethical questions and

dilemmas invovled.

My goal is to contribute to our faculty a deeper understanding of

the importance of Ethical reasoning in the �eld of Architecture. I

wish to provoke you, the reader, to ask yourself some fresh, critical

questions about either past and present themes and/or events in

Architecture while relating them to their larger contexts of history,

politics, and moral culture.

Who’s the Control Freak?

Architecture has always been subject to artistic and ideological

movements, commonly based on a set of Ethical rules. In the age

of Functionalism, Architecture was idealized into the the epitomy

of rational and e�cient human activity. At the peak of his years, the

leading Bauhaus professor and Architect Hannes Meyer proclaimed

Architecture to be the product of the formula, function times

economics. Functionalistic Architecture strived to organize on the

basis of social, technical, economic, and psychological studies.

The precision of these studies allowed for the design process to

obtain powerful cultural role in society. As the interior of his home

was designed to rigidly suit to his core needs, the logical consequence

was that the habits of men became ingrained in the inhabited space,

‘�tting’ eachother as to achieve an e�cient daily lifestyle as well as

design.

But did such processes hinder the ‘natural’ evolution of daily activity?

While this question can not be answered with certainty, it is useful

to consider it.

Here we touch upon the relationship between human activity and

functional Architecture. Who is subordinate to what force? Who

should be subordinate? Ironically perhaps, Meyer proclaimed himself

subordinate to the societal endeavor of creating a utopian future. He

designed each of his buildings with the purpose of moving towards a

higher stage of communal organization. In this sense, societal change

was encouraged through a design process – a process at the same

time subject to a greater cause.

Can one make a moral or ethical judgment about this? Should an

Architect be able to in�uence human activity – or should be the other

way around? Who gave the Architect the right to speculate about

the ideals of utopia, anyway?

Incidentally, Meyer proclaimed the Architect to be a servant to the

community, building for the community. He also recognized that

communities are made up of individuals to whome he gave the

social responsibility of ‘insightful thinking’ and ‘inventive genius’,

as he referred to it.

Perhaps the servant Architect claim was partially true. Perhaps the

Bauhaus Architect played a role in the great er educational process

of shaping a better life. Or perhaps Meyer was tactful as to form

his manifestos in such a way which Ethically justi�ed the ideals of

Functionalism.

Free-Market, Rigid Evolution

So why it is important to understand the Ethics concerned with

Functionalism, whose a�uence during the 1920’s and 30’s has long

since faded? There are many answers to this question. One may begin

by considering that Ethical dilemmas repeat themselves, taking a new

form with each new context, throughout history.

Recently, Rem Koolhaas brought forward a set of Ethical questions

concerning the evolution of cities, helping spark a central debate in

the international Architecture community. He asks, with referance

to leisure-based cities such as Dubai and Singapore, whether public

spaces are being too rigidly planned-out, manipulating urban activity

to its present needs, hindering the ‘natural’ evolution process.

The current free-market context of cities drives this evolution debate

further. Private entities are steadily gaining economic control of

the Global economy, changing the dynamic and weight of parties

involved in growth, Urbanization – and therefore urban planning.

Rem Koolhaas has described this as a new, “non-thinking” trend in

city growth during the past 15 years2. So who’s in control now?

Interestingly, free-market based interests are in their economic sense

opposite to the collaborative principles of Meyer’s functionalism.

However, the resulting societal consequences can bring about

comparable and signi�cant Ethical dilemmas.

These dilemmas provide interesting discussion for students of

Architecture. Incidentally, they are toolbox needed for critical

thought. The development of these critical skills is vital for the future

designer to make the right decisions about the how, what, and whys

in Architecture. Realizing a design is one achievement, but creating

something that embodies soundness - both functional and Ethical

- could become a masterpiece. //

Sources: > Koolhaas, Rem. "Dilemmas in The Evolution of the City", interview with Cabe News, http://www.cabe.org.uk/

29s t y l o s / / o n d e r d r u k k i n g / / a l g e m e e n

Noor Debets

recommended reading

Atlas of the conflict M. Shoshan

Deze Engelstalige atlas kreeg een Gouden Letter

voor ‘Schönste Bücher aus Aller Welt’ en beschri-

jft op allerlei manieren het conflict tussen Pal-

estina en Israel. Het zijn veelal vereenvoudigde

kaartbeelden die, met twee mengkleuren, de

geschiedenis van beide landen laten zien. Ook

deze keer verzorgde Joost Wouterse, die al drie

keer eerder de Gouden Letter voor zijn atlassen

won, de vormgeving. Onderwerpen als grenzen,

muren, landschap, demografie en Jerusalem

komen aan bod waarbij enkele foto’s extra

beeldende informatie verschaffen

320 pagina’s //35,99 euro //2010

Cosmic Communist Constructi-ons Photographed (CCCP)F. Chaubin

In de periode van 1970-1990 zijn er, geïnspireerd

door de Constructivisten en de Westerse

Modernen, in de voormalige sovjetunie in

grote getalen gebouwen gerealiseerd. Veel

architecten kregen, in het strakke regime van

de communisten, grote vrijheid om gigantische

bouwwerken te creëren. De Franse fotograaf

Chaubin legde negentig van deze gebouwen

vast in het boek CCCP, dat een naslagwerk vormt

voor de complexen uit deze chaotische tijd.

312 pagina’s //39,95 euro //2011

Massa en Macht E. Canetti

Een van oorsprong Duits boek (Masse und

Macht) waarin Canetti op een filosofische wijze

de begrippen massa en macht uitlegt. ‘Nergens

is zo duidelijk de betekenis van het bevel en

van de verhouding tussen de (ge)dode en de

overlevende onder woorden gebracht’ vermeldt

de achterkant van het boek. Aan de hand van

mooie metaforen die aan de natuur gelinkt

zijn, probeert de schrijver het geheel leesbaar

en begrijpelijk te houden en brengt hij in korte

fragmenten de lezer veel kennis bij over deze

belangrijke begrippen.

547 pagina’s //16,50 euro //1960

2. onderdrukking.indb 29 20-06-11 10:51

30 s t y l o s / / o n d e r d r u k k i n g / / a l g e m e e n

One of the Netherlands’ most experienced architectural practices Claus&Kaan Architects hold two establishments: Amsterdam and Rotterdam. The Amsterdam team currently resides in a nicely situated building of their own design on the coast of IJburg. Office manager Ellen Wybenga told the story of this beautiful working environment for Pantheon//.

How many people work here in Amsterdam

office right now?

Right now Claus & Kaan Amsterdam is a team of

18 including two trainees and one receptionist.

And there is me of course. After the crisis we

had to scale everything down. There were times

when we were working with 50 people.

How did CKA move to IJburg?

We have been here since October 2007. Back

then it was very hectic, we had loads of projects

and more than 50 personnel. The office was in

need of a larger workspace. At first not only this

building was incomplete but also Ijburg itself.

The harbor next to us was a big pile of sand.

But Ijburg offered something fresh, a new

look. Unfortunately 3 years ago the crisis hit us.

We had to let many people go, our personnel

decreased down to 17 which caused the building

to shrink as well. Unlike before, we now use only

the second, third and fourth floors. The fourth

floor is where the reception and public relations

departments reside. We invite our guests to this

floor because it has the nicest view. On the third

floor we have our model making rooms. All the

personnel including the managers sit together

on the second floor.

You work in a building designed by your

office, surely this is an exceptional chance

but does it also have disadvantages?

CKA is the designer of this building but not

the owner. We are only renting this space and

herefore we are not free to change whatever we

want. I do not see any disadvantages because it

is such a great building on such a great location

anyway, but this definitely forms a stronger

psychological bond with the space. Sometimes

we have visitors who think that the office is

“ugly” which of course does not feel nice.

How many days a week is there personnel

in the office?

We are pretty strict with working hours. We start

sharp at 09.00, you can not start before or after.

This office follows a regular eight hour schedule

which means everybody leaves around 17.30.

Many things have changed with the crisis but

not our office hours. If personnel has to stay up

every night something is clearly going wrong in

that office. Moreover this usually has a negative

affect on performance. It is very rare that we ask

for extra working hours but it happens when we

have a huge deadline for example.

Students will be happy to hear that, what

about during the weekends?

Our office is closed from Friday to Sunday, we

have a 4 day work week since the beginning

of last year. After the crisis just like everyone

we started receiving less projects. Skipping

a day was decided together to be able to use

the remaining days more effectively. At the

beginning this was worrying but now everybody

enjoys it, people have an extra free day although

this means everyone gets paid less.

Does everyone have a stable working area

within the office?

Yes, everybody sits on the same floor we want

to have a certain organization. We have an open

office system but mostly architects working on

the same project stay close to each other for

practical reasons. The partners also sit together

What is the first thing you do when you enter

the office in the morning?

I check if the alarm has been switched off, I

always take the stairs up instead of the elevator,

I make some coffee and turn on my computer.

Can you tell the story of this office shortly?

Claus & Kaan Architects were founded by Felix

Claus and Kees Kaan in 1988. Currently we have

two establishments, one here in Amsterdam and

one in Rotterdam. Despite the name there are

5 partners in total. Felix Claus and Jaap Gräber

work together with team Amsterdam. Kees Kaan,

Vincent Panhuysen and Dikkie Scipio are with

team Rotterdam.

Are you working together with Claus&Kaan

Rotterdam or do you only share this name?

Claus & Kaan Architects is a unity, the two

offices should be seen as one architectural

office that works independently on a practical

daily base. They have their own projects and

staff but on management level there is a lot in

common. When it comes to public relations,

competitions or publications we act as a whole.

We also organize social events such as new years

eve parties, excursions and summer activities

together.

What is the function of an office manager in

an architecture office?

First of all I am not an architect which works as

an advantage in this case. This way I can stand

out of the design process and remain equally

distant to every project. I have been working

here since 2000, from the time when the office

was still located in Weesperstraat. My main task

is to organize the office related issues as well

as finances. Together with the other members

of the management team, I keep track of

personnel, program, payments and many more.

Sine Celikphoto: Luuk Kramer

‘Last three years let us see how important it is to keep the personnel informed.’

@architect: Claus&Kaan


31s t y l o s / / o n d e r d r u k k i n g / / a l g e m e e n

half-separated from the others. When we had

a small office and many architects this was

becoming a problem but this building is very

spacious, we definitely have enough space. We

can be more flexible now. This flexibility also

comes from the fact that we have less architects

with permanent contracts now.

Are your colleagues allowed to personalize

their working area?

No absolutely not because this office represents

Claus&Kaan, neat architecture with very sole

elements. We also want our visitors to experience

the simplicity because it is our face. Busy desks

with colorful personal items can disturb this

image. Therefore everyone is obliged to clean up

their desks on each Thursday afternoon. This is

also handy for the cleaners, somehow it prevents

the chaos in the office space. In my previous work

everyone had to personalize their working area

and Felix Claus knew that. First thing he asked

me when I started in CKA was if I was going to

put candles and pictures everywhere

Is there currently anything else happening

in this building?

When we had to let our personnel go, we also

needed to gain something from the extra space

we have left. This way we sublet the ground

floor to a dance school and the 1st floor to a real

estate company.

Do you have daily rituals in the office?

Our only official break is for lunch. When the

weather is nice we sit outside near the harbor to

eat or we stay in our kitchen. While working with

50 people we were having a lunch organized

everyday where two elderly ladies prepared a

long table for everyone. We do not need that

anymore because everyone arranges lunch for

themselves.

Do you organize office activities regularly?

We celebrate the new year together usually with

a dinner. Twice a year we organize an excursion.

We rent a bus or travel by bike to visit new

projects. When we receive a huge project or

deliver a project we celebrate it immediately.

Before the crisis we used to go on excursions

abroad. We have been to Copenhagen, Porto,

and Berlin together but those had to be skipped

for a while.

Do you think your working environment has

an effect on your performance as an office,

positive or negative?

I think this beautiful building with it’s amazing

view effects everyone positively. When we were

at the Weesperstraat everyone was stressed,

it was different. But it was in the middle of

the city which was an advantage. Some of

our current personnel does not know these

diffrences because they have never worked in

the old building. New building tells another

story, a story of our own with it’s basic features

and simplicity. This is who we are and at the

same time where we are. I see this as a unique

opprtunity.

How are the relationships arranged in the office, is there democracy or hierarchy?I think it is a combination of both. We discuss everything together during our monthly office meetings. Last three years let us see how important it is to keep the personnel informed. Asking them their opinion, what they think about office related issues and decide together afterwards. I can not call it a democracy, there is no voting for instance. At the end there is one person who makes the decision but we try to make decision based on the ideas of the personnel.

How dominant are the partners here?

They are basically involved in all the projects and

also in the practical things. They coordinate the

magament meetings every monday. We discuss

the finances, public relations, the personnel and

take decisions that I make sure they get done.

Do you have a favorite spot in the building?

My workplace is the best place in this building. It

has the most beautiful view and very quiet unlike

the other floors. I also like the first impression on

visitors faces when they see the view. Everyone

gets amazed the moment they enter.

Can you define your working environment

in three words?

Beautiful, water and sky. I think the contrast

between the building and it’s surroundings is

what makes it unique. When you look from my

window, it is between flying and standing on

water. At that moment there is nothing between

you and the horizon.//


get inspiredSiriluck Songsri

Camera Obscurawww.huberokororo.com//DIY

School is almost over and if you are planning to do absolutely nothing this summer but you actually are afraid to get bored; try making your own paper cut-out pinhole camera. Never again gigabytes of pictures. But some shots with unique atmosphere and creative approach. #1

Unsinkable Artwww.ivanpuig.net//observe

Spaces outside the walls of your design are sometimes neglected. Especially when there’s no more time left until the deadline. Some trees there, benches here. Try the other way next time; make an artwork of it like Ivan Puig is doing here. #2

Patchwork Parkwww.ciglermarani.com//observe

Chess players are one of those who love spending their time in urban parks. Now they can have a whole new experience by becoming chess pieces, only in Czech Republic. #3

Papierarbeitenwww.simonschubert.de//DIY

Impress your fellow students and supervisors during the final presentation by making your interior impressions from a piece of paper only. #4

Digital Transportationwww.wetransfer.com//use

Nalden (nalden.net) and friends are well known for their interactive media skills and have created a delivery website where you can transfer big files without any registration. And it even looks sexy. #5

#5

#4

#3 #2

#1


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vertel uw verhaal met een advertorial

Een advertorial is een samenvoeging van een

advertentie en een redactioneel artikel. De

informatie wordt gepresenteerd in de huisstijl

van het blad om zo kwaliteit en geloofwaar-

digheid te ontlenen. Waar een advertentie

geschikt is voor het vestigen van aandacht

is de advertorial bijzonder geschikt voor

het vertellen van een verhaal, het schetsen

van situaties en het overtuigen door middel

van argumenten. Wat doet uw bedrijf en

waarom is het interessant, of waarmee kan uw

product zich onderscheiden? Hiermee heeft

u een grote kans te overtuigen door middel

van ratio en voorbeelden; een kwaliteit die

het lezerspubliek van de pantheon// zeker

aanspreekt. Jonge ontwerpers en architecten

in de notendop kunnen op deze manier ken-

nis maken met uw bedrijf of product en dit

toepassen in studie. De pantheon// redactie

kunt u hierbij helpen en begeleiden in het

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advertorialprijzen 2013

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• minimale resolutie 300 dpi

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• paginaformaat 230 mm x 296 mm

• bleed rechter en onderzijde 5 mm

• lettertypen ingesloten


vertel uw verhaal met een advertorial

vitra. advertorial, gepubliceerd in pantheon// 2008 deluxe

plastica & VM ZINC, gepubliceerd in pantheon// 2008 avontuur

32 s t y l o s / / d i a l o o g / / a l g e m e e n 33s t y l o s / / d i a l o o g / / a l g e m e e n

//advertorial

Design speelt een hoofdrol

Vitra heeft sinds de jaren vijftig nauw samengewerkt met het beroemde

Amerikaanse designersechtpaar Charles en Ray Eames. De ontwerpers

raakten bevriend met de familie Fehlbaum, de eigenaars van Vitra. De

Eames’ waren regelmatig in Weil am Rhein te vinden. Hun visie op modern

meubeldesign heeft grote invloed gehad en het Eames-nalatenschap wordt

nog steeds met liefde en eerbied gekoesterd door Vitra. Ook de beroemde

Panton Chair komt bij Vitra vandaan, die werd ontwikkeld in de jaren zestig,

samen met de ontwerper Verner Panton.

De Panton Chair werd in de hele wereld bekroond met designprijzen; de

stoel staat in talloze collecties van toonaangevende musea. Dankzij zijn

expressieve vorm heeft de Panton Chair zich kunnen ontwikkelen tot een

icoon van het design van de twintigste eeuw.

Home collection

Na vele jaren gericht te zijn op de inrichting van kantoren en openbare

ruimtes, heeft Vitra sinds een aantal jaar de Home Collection. De

Vitra Home Collection is speciaal bedoeld voor de particuliere

woonbranche. Daarvoor worden nieuwe meubels ontwikkeld door

hedendaagse ontwerpers zoals de gebroeders Bouroullec en Jasper

Morrison en komen ook oude klassiekers van bijvoorbeeld Jean

Prouvé en George Nelson opnieuw in productie. De Polder Sofa van

Hella Jongerius is één van de bekende en zeer succesvolle nieuwe

meubels uit deze collectie.

Design

Design speelt een hoofdrol bij Vitra en dat is merkbaar in alles. Zo

heeft het bedrijf in de jaren tachtig een eigen museum opgericht, het

Vitra Design Museum. Dit is een culturele instelling die zelfstandig

functioneert en die zelf tentoonstellingen maakt over vormgeving

en architectuur. De reizende tentoonstellingen gaan vanuit Weil am

Rhein langs musea in de hele wereld.

Bovendien beheert het Vitra Design Museum één van de aller-

belangrijkste designverzamelingen. De collectie van het Vitra Design

Museum is na een bescheiden begin in de jaren tachtig uitgegroeid

tot een van de meest belangrijke internationale collecties op het

gebied van hedendaags meubelontwerp. In 1989 omvatte de collectie

ongeveer duizend objecten; sindsdien is deze uitgebreid tot ongeveer

zesduizend stukken.

De bedrijfsgebouwen van he museum zijn op zichzelf ook de moeite

waard, want ze zijn ontworpen door een aantal grote architecten.

Frank Gehry bouwde er bijvoorbeeld een fabriekshal en het museum.

Tadao Ando ontwierp een conferentiepaviljoen en van Zaha Hadid

staat er een brandweerkazerne. De fabriekshallen zijn van de

architecten Alvaro Siza en Nicholas Grimshaw.

Bouwkunde op de Julianalaan

Een groot deel van de Vitra collectie is inmiddels ook terug te vinden

in de nieuwe tijdelijke huisvesting van Bouwkunde aan de Julianalaan

in Delft. In afstemming met de ontwerpbureaus verantwoordelijk

voor de inrichting van het gebouw, zijn de verschillende meubels van

Vitra opgenomen in het interieur. Alles van ruime werkplekken met

grote witte bureau's tot gezellige zithoeken met bijzondere meubels

uit de collectie vind je terug in het gebouw.

In Nederland kan de hele Vitra collectie bekeken worden

in de showroom van Vitra (Nederland) BV

Vitra (Nederland) BV

De Oude Molen 2

1184 VW Ouderkerk a/d Amstel

tel: 020 - 5174444

www.vitra.com

www.design-museum.deDe Polder Sofa van Hella Jongerius, te vinden op de vide bij Stylos

Joyn tafel van Ronan & Erwan Bouroullec, te vinden in alle ontwerpateliers aan de Julianalaan

De Panton Chair van Verner Panton te vinden bij M&C en FMVG

Algues van Ronan & Erwan BouroullecAmoebe Highback van Verner Pantonte vinden bij RMIT

38 s t y l o s / / a v o n t u u r / / a l g e m e e n

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p34-40 algemeen 02.indd 38 18-6-2008 14:50:42

39s t y l o s / / a v o n t u u r / / a l g e m e e n

VM ZINC® is wereldmarktleider op het gebied van gewalst zink, geprepatineerd zink,regenwatersystemen en dakaccessoires. U kiest de dak- of geveltechniek en tint die bijuw project passen.

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Architectenbureau Hennie Beenen

p34-40 algemeen 02.indd 39 18-6-2008 14:50:49


contact redactie

Studievereniging Stylos BG.Midden.110

Julianalaan 132

2628 BL Delft

015 278 36 97

[email protected]

www.stylos.nl

pantheon// [email protected]

pantheon// eindredacteurMargot Overvoorde

[email protected]

vind ons op pantheon.stylos.nl

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