SWEETS

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SWEETS

GET yourSElf an aTTiTudE

(PraGMaTiC, TiME TravElEr, ESSEnTialiST-aESThETiC,

STory TEllEr) and rE-dESiGn ThE bridGE houSE(S)

WorKShoP 3:

STory TEllEr

ESSEnTialiST/

aESThETiC

02.09.2013 – 06.09.2013

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SWEETS

space&matter

WorKShoP 3:

STory TEllEr

ESSEnTialiST/

aESThETiC

02.09.2013 – 06.09.2013

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TranSforMaTion of 27 bridGE houSES inTo a hoTEl

in collaboration with lloyd hotel and igor Sancisi, space&matter are planning to transform 27 bridge houses in amsterdam into a hotel with 27 rooms spread all over the city. in order to explore this idea space&matter started a design research in 2012. The first part of the design research focusses on the stocktaking of the individual value of each house and on the value of the 27 houses as a collection. The second part of the research focusses on the exploration of different attitudes towards transformation and possible re-design strategies with the utmost goal of developing the most suitable attitude and strategy for the transformation of the collection of the bridge houses into a hotel. both the first and the second part of this research will be presented and performed during the exhibition and a series of workshops between the 7th of June and the 20th of September 2013 in arcam, amsterdam.

all houSES individually and aS a CollECTion

The first part of the research, the stocktaking of both the collective value and the individual value of the bridge houses, is presented in an exhibition. on the upper floor of the exhibition we present the 27 bridge houses in amsterdam as a collection which tells the story of the city’s development, the story of technological development and the story of the history of architecture where architectural eras from 1910 till today become manifest in this series of bridge houses. on the lower floor of the exhibition the individual value of each house can be retraced from a carefully composed archive. The individual value of each house differs from one another. There are monuments, architectural gems, but also ordinary structures which have a local or personal value.

inTro WorKShoPS

WorKShoP

The second part of the research, exploration of different attitudes towards transformation and possible re-design strategies, will be performed during four workshops curated by Space&Matter in collaboration with beata labuhn

(Tu delft). The workshop will involve MSc-students from different universities and re-design experts from practice and theory.

The workshop makes use of and contributes to the information in the archive about the individual houses present in the exhibition. additionally the workshop is based on a pre-research about the history of transformation with the focus on the main attitudes towards transformation and a toolbox/vocabulary of the transformation strategies. in the four workshops we explore redesigning the bridge houses into hotel rooms with the attitudes of respectively the Pragmatic, the Time Traveler, the Essentialist-aesthetic and the Story Teller. our goal is to test a variety of attitudes towards heritage and see which transformation strategies they generate and what it means for each bridge house individually and for the bridge houses as a collection. The outcome of these workshops will be discussed during the final panel session, exhibited in the arcam in the form of a growing exhibition, and later documented in the second part of the research by design “The Transformation of the bridge houses”.

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WorKShoP arEa

hiSTory of TranSforMaTion 1

The attitudes towards time, history and heritage influ-ence the way in which people deal with old and new structures. We want to trigger a discussion about these attitudes. as under layer for this discussion we summa-rize the main characteristics of six popular attitudes.

The individual value of each house differs from one another. There are monuments, architectural gems, but also ordinary structures which have a local or perso-nal value. The individual value of each house can be retraced from this carefully composed archive which serves as background information source for the work-shops.

arChivE 2

Toolbox 3

in order to talk about transformation we need a vocabu-lary of possible strategies, interventions and manipu-lations. We collect verbs and adjectives (with reference projects) to stimulate a discussion about transforma-tion. in order to do so we also look outside the realm of architecture. The goal is to generate a toolbox of trans-formation strategies.

Get yourself an attitude (Pragmatic -rebel,

Time Traveler - Materialist, Essentialist - aesthetic), Story Teller) and re-design the interior and the exterior of the following bridge house(s): Willemsbrug,

berlagebrug, hortusbrug, Walter Suskindbrug, Kortjewantsbrug, Zeilstraatbrug.

during the exhibition in the arcam there will be a gro-wing exhibition of the transformation proposals desig-ned during the workshop. The re-design will be made comparable through a series of six templates showing the exterior (within the context), the interior, the plan(s), the section of each bridge house and the description of the interventions. WorKShoPS 4 GroWinG ExhibiTion 5 1 2 4 5 3

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hiSTory of TranSforMaTion

hiSTory of TranSforMaTion WiTh ThE foCuS on Main aTTiTudES ToWardS hEriTaGE

The attitudes towards time, history and heritage influence the way in which people deal with old and new structures. We want to trigger a discussion about these attitudes. as under layer for this discussion we summarize the main characteristics of six popular attitudes.

1

2. TiME TravElEr

The Time Traveler knows that the time moves forward, but believes that one can travel in time and can jump to another time for a moment in memories, through re-enactments and accurately composed reconstructions. The knowledge of past times cannot be retraced from ruins only, but it has to be cultivated through ongoing training in traditional skills and techniques. When confronted with exis-ting structures, the Time Traveler wants to preserve and repair them so they look like they used to ‘in the old days’ (or even bet-ter). When confronted with making new additions or structures the Time Traveler seeks to design like the original designer would have done it (or better).

CharaCTEriSTiCS: dreaming, imagining, evocating, idolizing the old

1. ThE MaTErialiST

The Materialist knows that the time moves forward mercilessly and believes that it inscribes itself into space in the form of artifacts, as if space was a palimpsest of older and newer inscriptions. in order to keep the older inscriptions readable, one has to treat the space with everything therein with care. The artifacts and ruins coming from the old times are all considered to be very unique and often have a sacred meaning for the Materialist. he therefore wants to conserve things just the way he has found them, preferably without even touching them. or if he has to touch them, the Materialist wants to conserve them without leaving his own traces on them. Making new

additions or structures is not really the Materialists piece of cake. if the Materialist would have to give an advise on making something new, he would advise to make it such that it can become an everlasting artifact representing its own time.

CharaCTEriSTiCS:

careful, caring, in love with the old, precise, protective

Conservation of Forum Romanum (since 1803).

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3. rEbEl

for the rebel the time moves only forward and it is the only way to go. The past is a burden which he wants to throw off. The rebel wants to shape the present and the future giving them the best con-temporary form. When confronted with existing structures, the rebel will want to destroy them in order to make place for something new. and if he decides to save the existing structures they function primary as a decorum or as materia prima for his own new creations. When it comes to creating new structures and additions the rebel will always want to make some-thing original, somesome-thing which has never been made before.

CharaCTEriSTiCS: revolutionary, inven-tive, innovainven-tive, optimistic, idealistic, (sometimes) aggressive

6. STory TEllEr

The Story Teller sees the time as so-mething cyclic where idea’s and stories come, go and return again resulting in forms which perfectly envisage the story behind it. The Story Teller likes to interpret old idea’s and stories giving them an own contemporary twist. When the Story Teller has to make a new addition or structure he will get inspired by an idea or a story and give it a suitable (but not necessary new) form.

CharaCTESTiSTiCS: balancing between fact and an interesting narrative, looking for eternal principles and themes

5. ESEnTialiST-aESThETiC

The Essentialist-aesthetic sees the time as something cyclic where forms come, go and return again. he likes to get in-spired by old forms, preserving the most characteristic features and giving them a contemporary interpretation. When con-fronted with old structures he will recycle and transform them. When the Essentia-list-aesthetic has to make a new addition or structure he will get inspired by some old form or certain aspect of it (like color, composition, proportion, material, struc-ture, rhythm, construction, tectonics) but he will give it an own twist by changing one or more of the other aspects (like color, composition, proportion, material, structure, rhythm, construction, tectonics) or he will make formal deformations. CharaCTEriSTiCS:

prioritizing, selecting, transforming, mer-ging, translating, ‘updating’

4. PraGMaTiC

for the Pragmatic the time moves only forward and it is the only way to go. The Pragmatic focuses on the present and the future needs which he accommodates pragmatically, economically and as it were in the most ‘easy going way’. When confronted with old structures he preser-ves what is still of use and destroys what is not. When it comes to creating new structures and additions the Pragmatic will always want to express his own con-temporary time with its unique economy, technology and aesthetic preferences. CharaCTEriSTiCS:

practical, economical, easy-going

Demolition of the monumental engine house in Praha-neighbourhood in Warsaw in 2009.

Lieb House (designed by Venturi & Scott Brown) arriving in New York from New Jersey in 2009.

Intervention in the former Reichs Party Congres in 2001 by Domenig. House extension in Remscheid in 1997 by Kalhöfer & Korschildgen.

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arChivE 2 C.S. Muiderpoortstation Amstel Station Vondelpark Westerpark Rembrandtpak Binnen Amstel Amstel Amstel Nieuwe Herengrac ht Dam Oosterdok het IJ Leidseplein Museumplein Oosterpark Artis Prinsengrac ht Keiz ersgrac ht Herengrac ht Kostverloren vaar t Kostverloren vaar t K ostverloren vaar t Schink el Prinsengrac ht K eizer sgrac ht Herengrac ht NoordHollandsc h Kanaal Laagte K adijk Ijburglaan Prins Hedrikk ade Ijdoornlaan Buiksloterdijk Floraweg Ms. van Riemsdijkweg

Johan van Hasseltwe g Kraaienplein Nassauplein Houtmank ade 2e Hugo de Grootstraat Kinkerstraat Overtoom De Clercqstraat Klaproz enweg Theophile de Bockstraat Zeilstraat

Jan van Galenstraat Va n H all_str aa t Kostverlorenstraat Willem de Zwijgerlaan Baar sjesweg Baar sjesweg Sloterk ade Nassauk ade van Diemenstraat W esterdoksdijk de R uijterk ade Oosterdok Amstel W eesperzijde Amsteldijk Omval Buiksloterweg Buiksloterweg Buikslotermeerdijk Schepenlaan Kamperfoelie weg 19 26 4 10 6 7 3 8 9 25 18 1 3 5 11 22 24 16 2 13 7 B 324 BELTBRUG 2 B278 SCHARREBIERSLUIS 1 S101 AMSTELSCHUTSLUIS 3 B101 NIEUWE AMSTELBRUG 5 B423 BERLAGEBRUG 8 B266 KINKERBRUG 9 B199 OVERTOOMSESLUIS 23 B173 WIEGBRUG 10 B155 KATTENSLOOTBRUG 19 B360 THEOPHILE DE BOCKBRUG 26 B348 ZEILSTRAATBRUG 6 B171 VAN HALLBRUG 4 B151 WILLEMSBRUG 25 B346 WESTERKEERSLUIS 12 B356 LANGEBRUG 21 B2205 BUIKSLOTERDRAAIBRUG 20 B970 IJDOORNLAANBRUG 17 B491 MEEUWENPLEINBRUG 15 B357 GERBEN WAGENAARBRUG 14 B314 WESTERDOKSBRUG 24 B2270 OOSTERDOKSDRAAIBRUG 16 B487 KORTJEWANTSBRUG 13 B239 HORTUSBRUG 18 B237 WALTER SUSKINDBRUG 11 B429 OMVALBRUG 12 15 17 21 20 14 OOSTROUTE WESTROUTE NOORDROUTE Ber t Haanstrak ade 27 B2023 HAVENEILAND

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15 14 4 N 151 WILLEMSBRUG 1928 P.L. Kramer 5 N 423 BERLAGEBRUG 1932 H. P. Berlage 13 N 239 HORTUSBRUG 1956 D.L. Sterenberg 26 N 348 ZEILSTRAATBRUG 2007 Kerste-Meijer 16 N 487 KORTJEWANTSBRUG 1967 Dic. Slebos 18 N 237 WALTER SUSKINDBRUG 1972 D.L. Sterenberg

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Toolbox 3

in order to talk about transformation we need a vocabulary to define types of transformation. We collect verbs and adjectives (with reference projects) to

stimulate a discussion about transformation. in order to do so we also look outside the realm of architecture. The goal is to generate a toolbox of transformation strategies.

Didden Village, MVRDV, Rotterdam, 2006

Diocletian’s Palace, 4th Century AC Dovecote Studio, Snape Maltings, HaworthTompkins, 2009 AFTER

AFTER BEFORE BEFORE BEFORE BEFORE Silbester Dtallone, 1995 BEFORE

AFTER BEFORE

Silbester Dtallone, 1995

BEFORE Skyline, Rotterdam, 2000

BEFORE AFTER Silvester Stallone, 2005 Didden Village, MVRDV, Rotterdam, 2006

AFTER

BEFORE BEFORE BEFORE

BEFORE

Silbester Dtallone, 1995

BEFORE _{Skyline, Rotterdam, 2000}

Dovecote Studio, Snape Maltings, HaworthTompkins, 2009 Diocletian’s Palace

AFTER AFTER

BEFORE AFTER Silvester Stallone, 2005

Skyline, Rotterdam, 2000

AFTER AFTER

BEFORE AFTER Silvester Stallone, 2005 Skyline, Rotterdam, 2000

AFTER AFTER

BEFORE AFTER Silvester Stallone, 2005

CONSERVE + INSERT + DENSIFY

INFLATE

PRESERVE + TOP UP

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Get yourself an attitude (Time Traveler, Pragmatic, Essentialist-aesthetic, Story Teller) and re-design the interior and the exterior of the following bridge house(s): Willemsbrug, berlagebrug, hortusbrug, Walter

Suskindbrug, Kortjewantsbrug, Zeilstraatbrug

WorKShoPS 4

WorKShoP 3: ESSEnTialiST-aESThETiC

05.08.2013 – 09.08.2013

redesign the bridge houses taking inspiration from one or two of their dominant features.

WorKShoP 4: STory TEllEr

02.09.2013 – 06.09.2013

1) redesign one of the bridge houses finding inspiration in their history (development and policy of a’dam, technological development, direct local surroundings (neighborhood) and possible personal stories) and meaning and focus on the (new) story you tell with your design. Write down the story of the house.

2) re-write the history of the house, using the original historical material, as such so you can justify its relocation (to the place of your choice). ‘de-sign’ the ‘how’ of the re-location carefully.

3) re-write the history of the house, using the original historical material, as such so you can justify its demolition, choosing the kind of demolition which will fit the (hi)story.

WorKShoP 1: PraGMaTiC

24.06.2013 – 28.06.2013

redesign three houses as a collection of rooms belonging to one hotel. Think of a corporate identity. design efficient and try to focus on an element, which binds all houses together.

WorKShoP 2: TiME TravElEr

08.07.2013 – 12.07.2013

redesign of the interior and the exterior of the bridge house like the original architects (berlage, Kramer, Sterenberg, Slebos, Kerste-Meijer) would have done it when he had to transform it into a hotel.

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SChEdulE:

Students:

6 students redesign individually 1 bridge house

ProGraM WorKShoP 3 Monday

10 am: introduction lecture beata labuhn (Tu delft) & Sascha Glasl (space&matter) 11 am: lecture Simone rots (CriMSon architectural historians)

12 am: lecture Conny Groenewegen

12 am -evening: Excursion houses (bring a bike, water & maybe sandwiches!!!)

TuESday

9 am - 12 am: designing with guidance

12 am - 7 pm: designing

WEdnESday

ThurSday

friday

5 am - 6 pm: Printing at space&matter (herengracht 520)

6 pm - 8 pm: final presentation

deliverables per student: one design for one houses 6 templates for 1 house

8pm: drinks

aSSiGnMEnT 1:

redesign one of the bridge houses finding inspiration in their history (development and policy of amsterdam, technological development, direct local surroundings (neighborhood) and possible personal stories) and meaning and focus on the (new) story you tell with your design. Write down the story of the house.

or

aSSiGnMEnT 2:

redesign the bridge houses taking inspiration from one or two of their dominant features.

ProGraM:

Small extension of the existing volume one entrance

Clear signage (hotel logo, room number, ‘do not disturb’ + ‘clean room‘ board) Windows in all rooms

Screening of the windows (for privacy)

darkening of the windows (for sleeping during the day) openable windows

lightplan for all rooms incl. bed lamp(s)

Sleeping room with 2 persons bed (2x min. 90cmx2m plus think about space for people who have to change the bed sheets)

Table plus 2 chairs (eating, drinking, conversation) Table for working plus chair

Space for babybed Trashbin

Mirror

Storage for luggage Cupboard for clothing locker

Minibar

bathroom (incl. toilet and shower (maybe bath) Connection between bath and sleeping room

1 sink on each level with mirror, shelf and towelhanger Parking place

breakfast place (in the neighbourhood) ProGraMMaTiC ChallEnGES:

how do you deal with noise? The houses are mostly next to a bridge/ street. how do you deal with privacy? The houses are often very transparent.

how do you deal with findability? The houses are small and not always visible and they don’t have an address.

how do you deal with safety? The gate is often preventing the access. is it handicap proof? (entrance, toilet, doors, turning circles)

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bal-23 22

during the exhibition in the arcam there will be a growing exhibition of the trans-formation proposals designed during the workshop. The re-design will be made comparable through a series of six templates showing the exterior (within the context), the interior, the plan(s), the section of each bridge house and the descrip-tion of the intervendescrip-tion(s).

Sheet 1:

Write a text and show your concept with a few black and white diagrams (din a5)

Sheet 4:

Show your design in the most rele-vant section

(din a5)

Sheet 2:

Make one outside image of your design

(din a5)

Sheet 5:

Show your design with additional drawings

(din a5)

Sheet 3:

Show your design in the most rele-vant floorplan

(din a5)

Sheet 6:

Show your interior design in one perspective section

(din a5)

GroWinG ExhibiTion 5

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151 101 155 171 173 199 237 239 266 278 314 324 346 101 348 356 357 360 423 429 487 491491 970 1267 2023 22052205 2270 s101 237 237 237 237 237 173 173 101 151 155 171 173 199 239 266 278 314 324 346 348 356 357 360 423 429 487 491 970 1267 2023 2205 2270 s101 23 N 173 WIEGBRUG 1990 M. Ponsen Kunstwerk L. Mijnlieff 24 N 2270 OOSTERDOKDRAAIBRUG 2004 Kerste-Meijer 25 N 346 WESTERKEERSLUIS 2004 ZILT 26 N 348 ZEILSTRAATBRUG 2007 Kerste-Meijer 27 N 2023 HAVENEILAND 2009 Quist Wintermans 5,29 5,08 3,39 0,84 0,84 1,76 3,53 A A 5,29 5,08 3,39 0,84 0,84 1,76 3,53 A A 5,29 5,08 3,39 0,84 0,84 1,76 3,53 A A 5,29 5,08 3,39 0,84 0,84 1,76 3,53 A A

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