EXIT15 Interior Design UHasselt

fac-ark.befac-ark.be

UHASSELTFACULTEIT ARCHITECTUUR EN KUNST_

Universitaire Campus, Gebouw E3590 Diepenbeek, BelgiumT 011 29 21 01

EXIT 15Interieurarchitectuur-VOORWOORD - DESIGN FOR LIFE Rob Cuyvers - Kris Pint

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VOORWOORD

DESIGN FOR LIFE - Ir. ROB CUYVERSDecaan Faculteit Architectuur en kunst, UHasselt

De Faculteit Architectuur en kunst voelt zich goed in de Universiteit Hasselt. Ook dit jaar werden we laureaat in de EAP-prijs, de Euregioprijs voor masterprojecten. De faculteit heeft internationale ambities. Master studenten waren werkzaam in Hongkong, Venetië en Dar-es-Salaam. Steeds meer studenten trekken naar het buitenland, voor uitwisseling in studieprogram-ma’s of om internationale stages te doen. De zetel van de EAAE (Europese associatie van architectuurop-leidingen) is gesitueerd in onze faculteit en doet ons netwerk steeds meer groeien.

“Design for life” is ons motto. De mens staat centraal in de faculteit. Bouwen en ontwerpen doen we voor en met mensen. Interdisciplinair wer-ken is zonder meer noodzakelijk. Toch krijgt elke student de kans om te focussen. Voor architectuur kan de student kiezen in trajecten in beelding, bouw-kunde, stedenbouw of cultuur.Voor interieurarchitectuur vormen retail, herbestem-ming, scenografie en wonen/meubel de focus.De ontwerpstudio is de centrale plek. Daar werkt de student met een gezonde onderzoeksattitude onder intensieve begeleiding. De begeleidende docenten hebben een sterke expertise op Vlaams (en vaak ook internationaal) niveau.

In dit studiowerk ligt de basis en de kracht van de opleiding. Het studiowerk is echter niet langer een eiland maar wordt een centrum waar theorie, on-derzoek en praktijk elkaar ontmoeten en versterken.

In deze academische opleiding wint het ontwerpend onderzoek en het onderzoekend denken en werken, meer en meer aan belang. Dit ontwer-pend onderzoek krijgt vorm vanuit een Vlaams en

internationaal discours. Verscheidene (co)promoto-ren zijn dan ook buitenlandse hoogleraars. Samen-werkingsverbanden met gerenommeerde universitei-ten zorgen voor een inbedding in het architecturaal onderzoekslandschap. Vanuit het onderzoeksinstituut ARCK wordt het onderzoek voor de opleidingen architectuur en in-terieurarchitectuur gecoördineerd en gestuurd. Er wordt gefocust op ruimtelijk en op sociaal-cultureel-maatschappelijk architectuuronderzoek.

Een 40-tal onderzoekers, 20 doctoraats-projecten en een aantal welomschreven onderzoeks- en dienstverleningsprojecten geven het onderzoek betekenis. In samenwerking met externe partners zo-als oa de Vlaamse Bouwmeester, het VAI, het Neder-lands Architectuurinstituut en verscheidene steden zoals Hasselt en Genk en het Provinciebestuur, wor-den onderzoeksprojecten ontwikkeld.

De Faculteit heeft duidelijk gekozen voor een degelijk academiseringsproces waarin onderzoek rond selectief gekozen speerpunten het fundament is. De kracht van het korps, zowel academici als actieve ontwerpers, architecten en interieurarchi-tecten, maakt het ons mogelijk, om samen met onze studenten, een sterke ambitie te koesteren en waar te maken.

Overgoten met een sterke saus onderzoek en een directe input van het werkveld is de opleiding uitgegroeid tot een sterke speler in Vlaanderen. De vruchten tonen zich in het prachtige werk van jullie, onze eindejaarsstudenten.

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The Faculty of Architecture and Arts feels good at Hasselt University. We again delivered the winner of the EAP-prize, the Euregional prize for master’s projects. The faculty also has international ambitions. Master students worked in Hong Kong, Venice, and Dar-es-Salaam. More and more students go abroad in the context of exchange programmes or inter-national internships. Our faculty houses the seat of the EAAE (European Association for Architectural Education), which expands our network ever more.

“Design for life” is our motto. Humans are the focal point in our faculty. We build and design for and with people. Interdisciplinary work is necessary to achieve this. Nevertheless, each student gets the chance to focus. Students in architecture can choose between different trajec-tories focusing on architectural poetry, building construction concept, culture, and urban design. Students in the interior design programme choose between retail, reuse of buildings, scenography, and furniture design.The design studio is central to each programme. In the design studio, research-minded students are intensely trained. The instructors have an exten-sive expertise at the Flemish (and often also at the international) level.

This studio work forms the foundation and the strength of our educational programme. However, studio work is no longer an island to itself; it is a centre where theory, research, and practice meet and reinforce each other.

In these academic programmes, design-ing research and investigative thinking and working are increasingly important. This artistic

research is based on a Flemish and international discourse. After all, several (co-)promoters are foreign professors. Joint ventures with renowned universities anchor us in the architectural research landscape.

Research for the architecture and inte-rior design programmes is coordinated and guided by the ArcK research institute. A central theme in this research is “redesign/reconversion”. The focus within this theme is socio-cultural as well as spatial.

Our research entails about 40 research-ers, 20 doctoral projects, and several well-defined research projects. Research projects are developed in cooperation with external partners, such as the Flemish Government Architect’s Team, various cities (e.g., Hasselt and Genk), the Limburg prov-ince, etc.

The faculty has clearly decided on a sound process of academification based on selec-tively chosen cornerstones. The strength of the staff, which includes academics and active design-ers, architects and interior designers, makes it possible for us, together with our students, to have an ambitious goal and to accomplish it.

Due to our efforts in research and a direct input from the active profession, the faculty has developed into a strong player in Flanders. The result of this is witnessed in the excellent work of our last-year students.

PREFACE

DESIGN FOR LIFE - Eng. ROB CUYVERSDean, faculty of Architecture and Arts, Hasselt University

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AANPAK

INTERIEURARCHITECTUURDe essentie van het huis ....

-KRIS PINT

‘De essentie van het huis als architectuur is de binnenruimte’. Deze uitspraak van de Noorse architectuurtheoreticus Christian Norberg-Schulz heeft nog steeds niet aan belang ingeboet. Het is de taak van de interieurarchitect het verblijf in deze in-terieurs, van intieme woonruimtes tot publieke plek-ken, zo aangenaam en waardevol mogelijk te maken. Dat is een uitdagende en complexe taak. In de opleiding Interieurarchitectuur aan de Universiteit Hasselt willen we studenten dan ook in een creatieve, studentgerichte en genereuze omgeving opleiden tot breed inzetbare interieurarchitecten.

Ons onderwijsprogramma biedt een brede waaier aan kennis en vaardigheden waarover een interieurarchitect moet beschikken. Een goede inte-rieurarchitect moet niet alleen goed kunnen ontwer-pen, maar ook kunnen onderzoeken, ondernemen en communiceren. Al deze aspecten komen aan bod in de vier studio’s waaruit ons onderwijsprogramma is opgebouwd. In de studio Beelding leert de student ruimtes visueel voor te stellen, zowel 2D als 3D, zowel via de compu-ter als met de hand. Ook de verbeeldingskracht en de experimentele attitude die nodig is om de interieurs van de toekomst nu al vorm te geven, worden in deze studio gestimuleerd. In de vakken van de studio Bouwkunde komen naast constructie en techniek ook comfort en duurzaam-heid aan bod. De interieurarchitect moet meester zijn van het detail. Vandaar dat ook de fysische en esthetische mogelijkheden van materialen worden belicht.

In de studio Mens en cultuur krijgt de student via psychologie, filosofie, sociologie, maar ook via de geschiedenis van architectuur en kunst, een beter inzicht in wat ons als mens kenmerkt. In de studio Ontwerpen komen al deze aspecten samen in concrete, steeds complexer wordende ontwerpopdrachten, waarbij het mooie verzoend wordt met het functionele, en waarbij de gebruiker steeds centraal staat.

De opleiding profileert zich rond vier domeinen: Herbestemming, Retail design, Sce-nografie en Wonen/meubel. In de master kunnen studenten voor één van deze domeinen kiezen om zich als ontwerper te profileren vanuit hun eigen interesse. Centraal staat de masterproef, die bestaat uit een project waarbij de ontwerpkeuzes via onder-zoek worden onderbouwd. Het specifieke van een academische ontwerpopleiding is dat je hierbij zowel voor klassieke als voor meer artistiek-ontwerpmatige vormen van onderzoek kan kiezen. Dit alles maakt de opleiding interieurar-chitectuur tot een bijzonder divers en rijk studiedo-mein. De resultaten van onze studenten tijdens dit academiejaar kan u in deze EXIT-brochure bewon-deren.

Kris Pint namens het team van Interieu-rarchitectuur

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INTERIOR ARCHITECTURE

INTERIEURDESIGNThe essence of the house...

-KRIS PINT

‘The essence of the house as architecture is the interior space’. This remark by the Norwegian architectural theorist Christian Norberg-Schulz is still relevant today. It is the task of an interior archi-tect to make it as pleasant and valuable as possible to dwell in these interiors, whether they are intimate living spaces or public spaces. This is a challenging and complex task. In the Interior Design programme at Hasselt University we aim to educate students in a creative, student-oriented, and generous environ-ment and turn them into widely employable interior architects.

Our educational programme offers all knowledge and skills an interior designer needs to possess. After all, a good interior architect is not only a good designer, he/she is also an able researcher, manager, and communicator. All of these aspects are integrated in the four studios which are central to our programme.

In the Envisioning Architecture studio, students learn to visualize spaces, both 2D and 3D, by computer and by hand. Imagination and an experi-mental attitude, necessary to design the interiors of the future, are stimulated in this studio. The courses of studio Building Construction focus on construction and technique, as well as on comfort and sustainability. An interior designer is a master of detail. Hence, all physical and aesthetic possibilities

of materials are studied. In studio Humanities the student develops a better insight in us, humans, through lectures on psychology, philosophy, sociology, and the history of architecture and arts.In the Design studio all these aspects are brought together in concrete and increasingly complex design projects in which beauty and functionality are bal-anced, always in function of the end user.

Our educational programme is structured around four key domains: reuse of buildings, retail design, scenography, and furniture design/dwelling. In the Master, students choose, in function of their own interests, for one of these domains in which they can profile themselves as designers. A central ele-ment in the Master programme is the Master’s test, which consists of a project in which design choices are underpinned by research. Specific to an aca-demic design education is the choice option between classic and more artistic forms of research.

All of this renders the Interior Design pro-gramme a very diverse and rich study domain. The results of the work of our students during this aca-demic year can be admired in this EXIT-brochure.

Kris Pint On behalf of the Interior Design team

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EXIT 15Interieurarchitectuur-BACHELORPROJECTEN1, 2 en 3 BAIAR

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BEGELEIDERS — LIEVE WERCKX, KATRIEN RAEDTS, WARD BERGEN EN GITTE HARZÉFOTO’S — GITTE HARZÉ

1BAIAR

1. MarieLodts, to sit/design by folding/ontwerpen van een zitmeubel 2. Alessio Palumbo & Jorn Braeken, to pause/ontwerpen van openbare sanitaire ruimte

3. Laura Heynen, to observe/ontwerpen van een observatieplek 4. Leonie Maes, to cook/ontwerpen van een keuken met mobiel element

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BEGELEIDERS — LIEVE WERCKX, KATRIEN RAEDTS, WARD BERGEN EN GITTE HARZÉFOTO’S — GITTE HARZÉ

1BAIAR

5. & 6. JornBraeken, to bathe/ontwerpen van een badpaviljoen7. LeonieMaes, to bathe/ontwerpen van een badpaviljoen

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Beschrijving werking 1BAIAR:In 1 bachelor wordt de nadruk gelegd op ‘mens en maat’. De student wordt geleerd zelf te bepalen hoeveel ruimte hij nodig heeft ifv het opgegeven programma van eisen. Alle aspecten van het wonen komen aan bod, echter niet op de conventionele en vertrouwde manier. Op die manier wordt de student verplicht het programma grondig te analyseren en vervolgens de ontwerpoplossingen op een kritische ma-nier steeds in vraag te stellen. Het resultaat is een rationeel opgebouwd, vernieuwend ontwerp. Aan het einde van het academiejaar wordt er een volledig woonprogramma ge-analyseerd en vormgegeven.

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BEGELEIDERS —WERNER ALBERT, BART APPELTANS, PETER FIRMAN, NIKOLAAS VANDE KEERE, LIEVE WERCKXFOTO’S — WERNER ALBERT EN LIEVE WERCKX

2BAIAR

1. Oef. 2.3 home delivery, Sven Labie2. Oef. 2.3 home delivery, Iman Filicia3. Oef. 2.3 home delivery, Tine Meert

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BEGELEIDERS —WERNER ALBERT , BART APPELTANS, PETER FIRMAN, LIEVE WERCKXFOTO’S — WERNER ALBERT EN LIEVE WERCKX

2BAIAR

4. Oef. 2.1 re-think (inkom MAD faculty), Caro Heuts & Kaelijn Van der Werf5. Oef. 2.3 home delivery, Karlijn Van der Werf

6. Oef. 2.3 home delivery, Martine Peeters-

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In de 2de bachelor werken we rond Wonen+. De studenten onderzoeken verschillende complexere woonprogramma’s in combinatie met andere functies. De oefeningen situeren zich meestal in bestaande panden, we kiezen de typologieën zo divers moge-lijk. De student leert zo omgaan met de mogelijk-heden en beperkingen van bestaande constructies en het inpassen van een opgelegd programma in een bestaande context. De invalshoek kan ook een constructiemethode of materiaal zijn.

We zetten vooral in op innovatief ontwerpen zowel op het vlak van ruimtelijkheid, conceptvorming, materiaalgebruik en detaillering.

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BEGELEIDERS — JO KLAPS & ROGER VERVOORTFOTO’S — JO KLAPS & ROGER VERVOORT

3BAIAR MODULE SCENOGRAFIE

1. Mariam Dghaich 2. Ndarare Valkeners3. Jonah Veestraeten 4. Joyce Corvers

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1. Gilbert & George

3. Max Fleischer

2. Richard Nixon

4. Constructie Scenografie

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BEGELEIDERS — JO KLAPS & ROGER VERVOORT FOTO’S — JO KLAPS & ROGER VERVOORT

3BAIAR MODULE SCENOGRAFIE

5. Annelies Swennen6. Juline hagelsteens 7. Lize Vanhoof

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5. Edward Ruscha

7. Lamy




In de module Scenografie krijgen de studenten een onderwerp toegewezen. Liefst één waar ze nog niets over weten. Dit scherpt niet alleen hun onderzoekszin maar brengt hun ook op plaatsen waar ze nooit eerder kwamen. Alle middelen zijn toegelaten om het onderwerp te vertalen in een boeiende scenografie. Als locatie kozen we dit jaar de exporuimtes van het CCHA te Hasselt

Omdat op papier alles mogelijk is vragen we om in de deelop-dracht constructie scenografie een mini-theater te bouwen en te belichten in een zelfgekozen setting. Dit kan onder een brug, op het water of in een oude boksclub.

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BEGELEIDERS — GILBERTE CLAES & JOHAN LANGENDRIESFOTO’S — JOHAN LANGENDRIES & JO KLAPS

3BAIAR MODULE WONEN & OBJECT

1. Mariam Dghaich 2. Mich Mermans 3. Lize Vanhoof 4. Leen Biesmans-

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BEGELEIDERS — GILBERTE CLAES & JOHAN LANGENDRIESFOTO’S — JOHAN LANGENDRIES & JO KLAPS

3BAIAR MODULE WONEN & OBJECT

5. Ndarare Valkeners 6 .Jonah Veestraeten 7. Lux Marjana 8. Valerie Spreuwers -

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In de module Wonen en Object ontwerpt de student een meubel voor een verzamel-ing, Of hoe kan een meubel de drager worden van een eigenzinnige groep van objecten?Het meubel ademt de sfeer van de collectie en vormt er één geheel mee.Het meubel dient geplaatst in een ruim-telijke context, vrijstaand of geïntegreerd (muur als drager).Wat de uitvoering van het ontwerp betreft, worden de materialen beperkt tot hout en/of metaal, en afgeleide van deze materialen.De verlichting van de objecten, direct of indirect, functioneel of als accentuering, dient eveneens te worden voorzien.

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BEGELEIDERS — NIKOLAAS VANDEKEERE & PHILIPPE SWARTENBROUXFOTO’S — PHILIPPE SWARTENBROUX

3BAIAR MODULE HERBESTEMMING

1 & 2. Jonah Veestraeten en Igor Duelen 3. Melissa Algarrada, Stefanie Baeten & Zoë Janssen 4. Elene Vernijns & Lize Vanhoof

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BEGELEIDERS — NIKOLAAS VANDEKEERE & PHILIPPE SWARTENBROUXFOTO’S — PHILIPPE SWARTENBROUX


1 & 2. Jonah Veestraeten en Igor Duelen 3. Melissa Algarrada, Stefanie Baeten & Zoë Janssen 4. Elene Vernijns & Lize Vanhoof

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5 & 6. Dieter Vernijns & Annelien Swennen 7 & 8.. Mich Mermans, Bram Neuteleers en Lotte Vandebroek

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Herbestemming van agrarisch erfgoed. Twee hoeves en een schuur krijgen een nieuwe betekenis voor hun omgeving.

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BEGELEIDERS — KATELIJN QUARTIER & PHILIPPE SWARTENBROUXFOTO’S — PHILIPPE SWARTENBROUX

3BAIAR MODULE RETAIL DESIGN

1. Mich Mermans 2. Jana Ottenburgs-

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In de module Retail design kregen de studenten een concreet uitgangspunt voorgeschoteld: ‘transforming brands: differenti-atie door lokalisatie’. De studenten mochten een gekende (inter-nationale) retailer kiezen die zich in Hasselt zou kunnen vestigen. Zo krijgen de studenten een houvast, een merk dat ze kennen, om te vertalen naar een winkel op maat van Hasselt en voor zijn bezoekers. Het was hierbij belangrijk dat de retailer/merk zijn eigenheid zou bewaren, maar met een compleet nieuwe vertaling naar het winkelinterieur. De studenten hadden de keuze uit twee panden. Het ene lag in de hoofd-winkelwandelstraat van Hasselt (Demerstraat) en de andere op de Havermarkt.

Bij deze opdracht ging specifieke aandacht naar het scheppen van sfeer in de winkel. Deze sfeer moest zich ook vertalen in plan-nen en maquette.

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BEGELEIDERS — KATELIJN QUARTIER & PHILIPPE SWARTENBROUXFOTO’S — PHILIPPE SWARTENBROUX


1. Mich Mermans 2. Jana Ottenburgs-


3. Elene Vernijns 4. Mariam Dghaich5.Femke Spelmans 6. Linde Van Den Bosch

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EXIT 15 Interieurarchitectuur-VARIA & STUDIEREIZEN

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BEGELEIDERS — WERNER ALBERT, GITTE HARZÉ EN LIEVE WERCKXFOTO’S — WERNER ALBERT EN LIEVE WERCKX

STUDIEREIS 1 & 2BAIAR: LENS - POISSY- PARIJS

1. & 2. Villa Savoye; Le Corbusier, Poissy3. Musée du Quai Branly, Jean Nouvel, Parijs

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BEGELEIDERS — WERNER ALBERT, BART APPELTANS, PETER FIRMAN EN LIEVE WERCKXFOTO’S — WERNER ALBERT EN LIEVE WERCKX

STUDIEREIS 1 & 2BAIAR: LENS - POISSY- PARIJS

4. & 7. Musée du Louvre, SANAA , Lens 5. Bibliothèque Nationale, Parijs6. Maison Louis Carré, Alvar Aalto, Bazoches-sur-Guyonne

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STUDIEREIS 3BAIAR: CHARTRES - NANTES - GUISE

1. Maison Louis Carré, Alvar Aalto, Bazoches-sur-Guyonne 2. Villa Savoye, Le Corbusier, Poissy 3. Hansa Viertel, Oscar Niemeyer, Berlin 4. La Maison Radieuse, Le Corbusier, Rezé

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STUDIEREIS 3BAIAR: CHARTRES - NANTES - GUISE

5. Familistère Godin, Guise 6. Café Moskau, Berlin 7. Mémorial de l’Abolition de l’Esclavage, Nantes, Krzysztof Wodiczko & Julian Bonder

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BEGELEIDERS — ALLE BEGELEIDERS O.L.V. WESLEY MEURISFOTO’S — JO KLAPS

EXPERIMENTELE WEEK

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BEGELEIDERS — ALLE BEGELEIDERS O.L.V. WESLEY MEURISFOTO’S — JO KLAPS

EXPERIMENTELE WEEK

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Measuring the world

De experimentele week o.l.v. Wesly Meuris had als intentie de blik op de wereld te cap-teren. De eerste fase was de observatie van een locatie; het vastleggen van wat er te ziet, voelen, horen, ruiken was.Het materiaal werd in de tweede fase geka-naliseerd en gedirigeerd. In de uitwerking, de derde fase, kon ieder-een een houding aannemen ten aanzien van de locatie die onderzocht werd. De studenten hertekenden en reconstru-eerden de plek die hun was toegewezen en legden nieuwe associaties. Replacement, toe-eigening, absurditeit, utopie, verval, geheugen, fictie, ironie, humor, abstractie, verandering, deelname, strategie…waren enkele suggesties die ze konden inzetten in de representatie van de locatie.

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VARIA

1, 2 & 3. Workshop Bubalab, KortrijkSamenwerking van alle opleidingen interieurarchitectuur in Nederland en België.

KUL-faculteit architectuur, UH-faculteit architectuur en kunst, TU-Delft,UA-faculteit ontwerpwetenschappen en de Rietveld Academie Amsterdam

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VARIA

4. The Rojo’s op Boterhammen op de agora 5,6 & 7. “One Day Expo” met ontwerpen van de module scenografie

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VARIA

1. stretch-bag van Jill Koekenberg en Kato Mees 2. Pop-Up Expo Beelding in Hasselt, 3. Summerschool voor studenten uit Milaan, Delft en Hasselt

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Van 18 tot 28 augustus heeft er aan de faculteit Architectuur en kunst van de Universiteit Hasselt een summer school plaatsgevonden waarbij studenten uit Milaan, Delft en Has-selt uitgedaagd zijn om na te denken over de winkel van de toekomst. De studenten kregen de vrijheid om na te denken over de locatie, de typologie van de winkel en de functionali-teiten.Elke ochtend werden er theoretische sessie gegeven door experts uit het werkveld.

Studenten 2de bachelor Interieur stelden met hun projecten van het opleidingsonder-deel Beelding tentoon aan het grote publiek tijdens een pop-up expo in de binnenstad van Hasselt. De projecten vertrokken vanuit een materiaal en resulteerden door middel van experimenteel onderzoek naar technieken tot verrassende objecten zoals broodtrom-meltjes in bijenwas, houten vazen en rekbare schoudertassen.

Deze sessies werden gekaderd binnen drie thema’s: retail de-sign (het ruimtelijke aspect), zintuigelijke marketing (erva-ringsgerichte aspect), en de digitale ontwikkelingen/trends. In de namiddag sessie konden de studenten tijdens een workshop in kleine groepen werken aan hun ideeën voor de winkel van de toekomst. Elke groep bestond uit een mix van studenten uit verschillende disciplines (interieurarchitec-tuur, architectuur, marketing & product ontwikkeling).

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VARIA

“Image Talks” symposium4. Peter Hulsmans 5. Yves Maes 6. Jean-Paul Van Bendegem

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On the 7th and 8th of may FRAME hosted the ‘Image Talks’ symposium and exhibition. Some central issues that were addressed include: How do images draw meaning? How can spaces be frames for thinking? And what can this framing teach us? Artists, theorists, philosophers and architects ex-plored the way we relate to images and spaces and presented new ways of viewing or looking at them. Speakers included: Peter de Graeve, Gerard Visser, Francis Denys, Els Wuyts, Emmanuel Rubio, Klaske Havik and theatre-architecture collective TAAT. In the evening Jean Paul Van Bendegem and Atte Jongstra gave lectures about ‘the truths that images lie to us’ in the governors mansion that was filled to capacity. Image Talks also exhibited works by international artists at various locations, including the old jail, CIAP arts centre, the provincial library and De Mijlpaal art galery.

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ONDERZOEKSGROEP ARCK – HET FOUTE JAAROVERZICHT

Jaaroverzichten zijn per definitie fout. Ze zijn onvolledig, selectief en ongenuanceerd – eigenschappen die we eigenlijk vooral niét met onderzoek geassocieerd willen zien! Een jaar-overzicht is natuurlijk geen onderzoek en het is nu eenmaal niet mogelijk om alle activiteiten van een volledig jaar ArcK op een gepaste manier te beschrijven: alle studies en onderzoeksprojecten, samenwerkingen met studenten, artikels, boeken en artistieke output, internationale contacten, lesopdrachten, dienstverlening en consultancy, congrespresentaties, beleidsondersteuning enzo-voort… Een jaaroverzicht geeft echter wel een idee van wie we zijn en waar we voor staan, wat we doen en wat we zoal bereiken, dus daarom toch een selectieve, ongenuanceerde en hoogst onvol-ledige dwarsdoorsnede van onderzoeksgroep ArcK tijdens het afgelopen academiejaar:

Binnen de Sustainability onderzoekslijn behaalt Elke Meex een IWT-doctoraatsbeurs om een methodologie te ontwikkelen om architecten te ondersteunen in duurzaam materiaalgebruik vanaf de vroege ontwerpfase en wordt er deelgenomen aan maar liefst drie IWT-proeftuinen over woningrenovatie. De groep rond Spatial Capacity Building blijft zowel lokaal als internationaal zoeken naar nieuwe ‘tricks and tools’ om mensen te betrekken bij ruimtelijke processen, van de co-creatie van een toekomstkrant met bewoners van de wijk Godsheide tot het starten van een internationaal JPI-project om via serious games over stedelijke complexiteit na te denken. FRAME, de onderzoekslijn i.s.m. de collega’s van MAD rond artistiek onderzoek, demonstreert dan weer dat een geslaagd academisch congres zich niet moet beperken tot interessante lezingen van internationale experts, maar ook kan bestaan uit beelden, sculpturen en installaties, video’s, archi-tectuurtheater, en tentoonstellingen op locatie. Binnen de onderzoekslijn Designing for More wordt ook ambitieus aan de toekomst ge-werkt door samen met internationale partners en het werkveld allerhande projectvoorstellen in te dienen: een Tetra-project rond beleving en retail design, een Erasmus+-project over Design for All, een aanvraag bij de Koning Boudewijnstichting om via architectuur het geluksgevoel van ouderen in een woonzorgcentrum te verhogen, zijn slechts enkele voorbeelden. De onderzoekslijn Adaptive reuse / Heritage, ten slotte, bevestigt haar internationale pionierswerk in de theorievorming rond interieur en herbestemming (zie bijv. de doctoraatsverdediging van Bie Plevoets), maar werkt ook steeds meer rond concrete ontwerptoepassingen via maatschappelijke dienstverlening zoals in Kortessem, Sint-Truiden, Hasselt, of Genk.

Hoe onvolledig ook, deze korte lijst schetst hopelijk wel een duidelijk beeld van ArcK: een jonge, ambitieuze onderzoeksgroep die met een open blik op de wereld maar vanuit een maat-schappelijke betrokkenheid en relevantie (Design for Life) in elk van haar vijf inhoudelijke lijnen enthousiast en ongegeneerd op zoek wil gaan naar nieuwe kennis, nieuwe betekenis en nieuwe beelden voor een betere en mooiere wereld.

Jan Vanrie

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RESEARCH GROUP ARCK – AN INACCURATE YEAR IN REVIEW

Any ‘year in review’ is, by definition, inaccurate. They are incomplete, biased and lack nu-ance – all attributes one really does not want to associate with research! Such a review of the year is of course not research and it is simply not possible to describe a full year of ArcK activities in an ap-propriate manner: all the studies and research projects, collaborations with students, articles, books and artistic output, international contacts, teaching assignments, public service and consultancy assignments, conference presentations, policy support and so on ... However, a year in review does give an idea of who we are and what we stand for, what we actually do and what we have achieved, so for that reason, here is a selective, rather simplistic and highly incomplete cross-section of research group ArcK during the academic year ‘14 - ‘15:

Within the research line Sustainability, Elke Meex receives an IWT doctoral scholarship to develop a methodology to support architects regarding sustainable use of materials from the early design stages and researchers are participating in as many as three IWT-Living Labs projects on renovation. The people within Spatial Capacity Building continue their search, both locally and inter-nationally, for new ‘tricks and tools’ to get people involved in spatial processes, for example through the co-creation of a newspaper of the future together with residents of the neighborhood Godsheide or by embarking on an international JPI-project on serious games and urban complexity. FRAME, the research line on artistic research in collaboration with our MAD-colleagues, demonstrates that a successful academic conference need not be limited to interesting lectures by international experts, but can also consist of images, sculptures and installations, videos, architec-tural theater, and exhibitions on location. The research line Designing for More is working ambitiously to the future by collabo-rating with international partners and partners in the professional field to submit several project proposals: a Tetra project on experience and retail design, an Erasmus+ project on Design for All or an application to the King Baudouin Foundation to increase the happiness of elderly people in residential care settings by means of architecture, to name but a few. Finally, the research line on Adaptive reuse / Heritage has confirmed its international pioneering work in theorizing about interiors and adaptive reuse (see for example the Phd defense of Bie Plevoets), but also increasingly implements this by working on real-life design problems in the framework of contract research for communities such as in Kortessem, Sint-Truiden, Hasselt or Genk.

However incomplete, this short list should – hopefully – paint a clear picture of what ArcK embod-ies: a young, ambitious research group with an open view to the world and societal relevance and responsibility in its heart (Design for Life) that, within each of its five lines of research, continues to search enthusiastically and unabashedly for new knowledge, new meaning and new visions for a better and more beautiful world.

Jan Vanrie

38

15 september 2014

Doctoraatsverdediging Bie Plevoets, “Retail-Reuse: an interior view on adaptive reuse of buildings.”6 oktober 2014

Workshop + lezing Lonny Van Ryswyck (ATELIER NL) 3-7 november 2014

Cross-Over workshop Future Fictions ism Z33 met studenten Fac-Ark en MAD-Luca en MAD-PXL4 november 2014 / 19 mei 2015

Curating the library - docenten en studenten wisselen favoriete boeken en inspiraties uit.14 november 2014

EAP2014 (Euregional Prize for Architecture): UHasselt student Rosalie Gielis wint de eerste prijs.

23 november 2014

Het wiki-house presenteert architectuur op de wetenschapsdag van de UHasselt

15 september 2014

6 oktober 2014 6 oktober 2014

6 oktoberr2014

14 november 2014

7 november 2014

7 november 2014

4 november 2014

23 november 2014

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23-25 november 2014

14 studenten nemen deel aan Euregionale Workshop (Universität Siegen) onder begeleiding van R.Coenegracht en L. Schouterden27 november 2014

StudentenSTAALprijs gewonnen door Kathleen Coenen (2ma AR, gedeelde eerste plaats)Kimberly Vandeborne (alumnus 12-13) krijgt een eervolle vermelding

5 december 2014

ahk03 _ Architectenhuiskamer: samen bouwen aan een nieuwe aarde, arch. Juul Vanleysen @ CIAP Hasselt11 december 2014

ONE DAY EXPO door de module scenorafie van 3BA IAR11 december 2014

Liesbeth Huybrechts en Sarah Martens (ArcK) stellen in het kader van Future Fictions Godsheide de ‘krant van de toekomst’ voor in Z334 februari 2015

Talitha Lenaerts en Katrien Spaas (Master IAR – scenografie) genomineerd voor de Young Scenographers Contest georganiseerd door EUROVISION MUSEUM EXHIBITING EUROPE

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GOODLI(F)E ORGANISEERT LUDIEKE ACTIE

OM BRUG

DE INWONERS EN HET BELEID KEUREN SAMEN NIEUWE BESTEMMING GOED IN GODSHEIDE.

KERK WORDT NIEUW BUURTHUIS

Gisterenavond organiseer-den de bewoners van Gods-heide samen met het Has-seltse beleid een groot feest. Zij vierden hun gezamenlij-ke beslissing om een nieuw buurthuis te openen in de oude kerk. Deze plek zal allerlei sociale activiteiten bundelen, zoals kinderop-vang, ouderenzorg, allerlei culturele en ecologische ini-tiatieven.

De opening van het buurt-huis ging ook samen met de bekendmaking van de nieu-we brug die de twee dorps-delen van de kern van Gods-heide zal verbinden. De brug wordt aangelegd op zijn voormalige locatie (de brug werd opgeblazen in WOII), een ligging die altijd een goede verbinding vormde met het centrum van Gods-heide en dus ook met het nieuwe buurthuis.

Bewoners en beleid zien de brug als een activiteiten-brug, een nieuw publiek plein waar je – onder meer - fantastische zonsopgan-gen en zonsondergangen kan meemaken. De brug is expliciet toegankelijk voor iedereen, ook voor minder mobiele mensen, maar niet voor de auto. Bovendien zullen er zich vanuit en rond de brug alternatieve woon-vormen ontwikkelen, zoals dijkwoningen. Deze wonin-gen situeren zich typisch op, aan, onder of langs een dijk.

De opening van het buurt-huis in de oude kerk geeft dus het startschot voor grootse plannen. Genoeg redenen om de overschotten van de miswijn te kraken.

Elke bewoner van Godsheide weet het nog. Voor de oorlog was er een brug die de twee zijden van Godsheide verbond. Tijdens de tweede oorlog bombardeerden de bewoners deze brug om de Duitsers tegen te houden. Na de oorlog werd de brug vervangen door een tijdelijke constructie die helaas iets la-ter omver werd gevaren. Ter vervanging van de brug werd er een veerboot ingezet om de bewoners en heel wat schoolgaande kinde-ren dagelijks over te varen. Deze veerboot

veroorzaakte – wat nog altijd bekend staat als - de ramp van Godsheide: 35 kinderen en 2 volwassen verdronken. Omdat de dood van die kinderen nog heel erg leeft in deze deelgemeente van Hasselt, is er na de ramp geen verbinding meer gekomen. Godsheide is sindsdien in twee gesplitst.

Het beleid en enkele bewoners in Godsheide kondigden gisteren nog aan dat ze de brug opnieuw willen bouwen (zie vorige pagina).

De lokale actiegroep Goodli(f)e hecht daar echter weinig belang aan, omdat al vaker beloften niet nagekomen werden. Daarom voeren ze met respect voor de geschiedenis van de ramp van Godsheide, een ludieke ac-tie om de brug terug te vragen aan het beleid. Samen met een aantal bewoners simuleren ze een brug in het verlengde van het oude padje aan café “De Zwaan”. Men verwacht een grote opkomst, omdat de brug hoog op de agenda staat bij veel Godsheidenaren.

Bewoners vieren de opening van hun buurthuis in de oude kerk.

Bewoners simuleren noodzakelijke brug aan het kanaal van Godsheide.

BUURT START SCHOOL VIA “CROWDFUNDING”

Tien jaar na de instorting van de buurtschool in Godsheide, vond gisteren een feestelijke opening plaats van de nieuwe klasjes. Hiermee komt er een einde aan het verblijf van kinderen en leerkrachten in de scoutslo-kalen. De bouw van de nieuwe school werd mogelijk door de crowfunding initiatieven van het sterke verenigingsleven in Godsheide. De idee achter crowdfunding is dat veel men-sen een klein bedrag investeren en dat al die kleine investerin-gen samen het project volledig financieren.

“Het werd tijd”, zeiden de or-ganisatoren, “jaren van vrijwil-ligerswerk en spaghetti-avon-den konden de vorige school enkel oplappen en verfraaien”. In de rampzalige nacht van 29 op 30 november 2014 stort-ten de containers en een deel van het schoolgebouw aan de Kleinstraat in. Tot op de dag van vandaag blijft het ondui-delijk wat de precieze oorzaak was. Was het te wijten aan de gebrekkige en onveilige infra-structuur of was er kwaad opzet in het spel? Het buurtonderzoek van de politie bracht nooit hel-derheid.

De bewoners zagen de instor-ting als de figuurlijke “bom” onder de aanpak waarmee de school was onderhouden. Deze bom vormde de mascotte van een reeks stilteprotesten in de stad die de verschillende noden, wensen en stemmen over scho-lenbouw en - onderhoud tot ui-ting brachten. Vandaag kunnen we deze bom vervangen door een “like”, want de school is een zelden gezien voorbeeld van wat bewoners samen kunnen berei-ken.

Deze krant is een samenwerking tussen de bewonersvereniging Unie Godsheide, onderzoeksgroep ArcK (van de Faculteit Architectuur en Kunst van de Universiteit Hasselt), FoAM (netwerk van transdisciplinaire labs voor speculatieve cultuur). Het is een verslag van de Future Fictions Godsheide workshop (verbeelding van de toekomst van Godsheide in 2024) op 29 en 30 november 2014 en werd uitgegeven naar aanleiding van de tentoonstelling Future Fictions die loopt van 5 okto-ber tot 4 januari 2015 in Z33, Hasselt.

BEWONERS GODSHEIDE: Michel Achten, Joachim Bekkers Frank Bekkers, Caroline Boesmans, Lieve Gelders, Manu Gelders, Luc Jollings, Patrick Jonckmans, Bart Lambrichts, Anne Moerman, Renaat Nijs, Ward Opdekamp, Renaat Roekaers, Bart Schepens, Esther Vandebroek, Kristel Vanquaethoven Arnoud Vervoort, Luc Vlekken.WORKSHOP BEGELEIDERS: Maja Kuzmanovic en Katleen Melis (FoAM), Liesbeth Huybrechts en Sarah Martens (ArcK, UHasselt)

STUDENTEN: Wannes Boonen, Alexander Brepoels, Rien Cleuren, Xim, Dams, Marijn Degerick, Valerie Dupont, Ruben Geudens, Bart Houben, Lize Kelchtermans, Jeroen Lamber, Thomas Meers, Niels Menten, Robin Prickaerts, Dorien Roumans, Zander Rutten, Katrien Schepers, Christophe Truyers, Mathias Vankriekelsvenne, Bart Vanmuysen, Dimitri Voordeckers, Michelle Vrolix, Lotte Willems

www.fo.amwww.fac-ark.squarespace.com/arck/www.verkavelingsverhalen.bewww.z33.be/en/projects/future-fictionswww.godsheide.be/de-unie-godsheide/

Exact 10 jaar geleden, op een zon-nige en koude novemberochtend vonden een 15-tal bewoners van Godsheide elkaar in het warme café “bij Vieke”. Zij verzamelden zich na een oproep van de bewo-nersvereniging “De Unie Gods-heide”. Ze zouden daar de nabije toekomst (2024) van Godsheide verbeelden tijdens een tweedaag-se workshop, samen met het de-partement architectuur van de Universiteit Hasselt en kunsten-collectief FoAM. Ze hadden alvast een gedeelde droom: een open en betrokken beleid, ondersteund door een sterk cultureel leven. Ze waren geïnspireerd door goed werkende, positieve acties uit het verleden (van papieromhaling tot kermisactiviteiten), gedreven door gepassioneerde mensen uit de gemeenschap (zoals pastoors en schoolmeesters).

Uit deze workshop bleek vooral een nood aan publieke ruimte en platformen om visies, plan-nen, wensen en verschillen uit te wisselen en acties te initiëren. De bewoners gaven Godsheide vorm als een groeiende groene leefom-geving. Deze omgeving wordt volgens hen gedreven door lokale dienstverlening (bijvoorbeeld een eigen school, lokale zorg) en ge-dragen door een lokale economie, zoals werk in eigen buurt, maar ook andere vormen van econo-mie, coöperatieve en deelecono-mie.

Deze meer open ideeën kregen vorm in een aantal concrete ini-tiatieven. Met de coöperatie “Ci-tydepot Godsheide” namen de verschillende actoren en bewo-ners handel en dienstverlening in eigen handen. Ook de nieuwe buurtschool kwam via crowd-fundinginitiatieven van lokale verenigingen tot stand. De actie-voerders van het collectief Good-li(f)e onderstreepten met hun ludieke actie dat er op vlak van mobiliteit en infrastructuur nog heel wat werk aan de winkel is: “Beloften en infrastructuur blij-ken in Godsheide niet altijd een goed huwelijk” aldus een vrolijke actievoerder. Op de toestroom en opvang van nieuwkomers werd door de bewoners destijds goed geanticipeerd via het opzetten van verschillende evenementen en activiteiten rond de pastorie, de kerk, de activiteitenbrug en café “bij Vieke” waar mensen el-kaar kunnen leren kennen. Vandaag zijn deze initatieven nog steeds inspirerende voorbeelden voor steden, gemeentes en par-ticulieren die hun toekomst in eigen handen willen nemen. De titel van deze krant luidt niet toe-vallig: “De Toekomst is vandaag”.

2024 IS VANDAAG!

EEN TERUGBLIK OP DE TOEKOMSTWORKSHOP IN EN OVER GODSHEIDE IN 2014

De bewoners plaatsten in 2014 een bom onder de manier waarop de school werd onderhouden.

Bewoners verzamelen “Bij Vieke”.

DE TOEKOMST WAS ER AL IN 2004.OVER MOVE, EEN BEWE-GING VAN TOEKOMSTDEN-KERS EN -MAKERS

Niet enkel in 2014 droomden en dachten ze over de toe-komst. Reeds in 2004 zetten de bewoners van Godsheide het MOVE project op waarin ze een visie uittekenden over het groen in hun dorp, ont-moeten en wonen. Ze bena-drukten de nood aan publie-ke ruimte en platformen om elkaar tegen te komen door een diversiteit aan activitei-ten te organiseren, gaande van sportevenementen en een kunstenparcours. Bart Lam-brichts was een van de trek-kers van dit initiatief en ook vandaag nog, in 2024, zeer actief in de bewonersvereni-ging Unie Godsheide. Hij is blij te zien dat 20 jaar later de toekomstplannen die MOVE voortbracht, voor een groot deel realiteit zijn geworden: “Het beweegt vandaag in de goede richting en dat is mooi om te zien”.

23 november 2014

5 december 2014

27 november 2014

27 november 2014

27 november 2014

4 februari 2015

4 februari 2015

JAAROVERZICHT

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3 & 24 februari, 10 & 24 maart 2015

A-Z project in detail, uitgebreide namiddaglezingen op de faculteit architectuur door de A-Z genodigden20 april 2015

Francqui-leerstoel, inaugurale lezing Emilio Tunon 20-24 april 2014

Francqui-leerstoel, workshop ‘untouchables’ met Emilio Tunon28 april 2014

Nathalie Kavse, Robbe De Geyndt, Philippe Breels, Michelle Vrolix, Lien Raskin en Marie Frioni winnen voorronde ‘ISOVER Multi-Comfort House Students Contest Edition 2015, Residential function in cold climate – Astana, Kazakhstan’

7-9 mei 2015

pop-up expo testbeeld, beelding tweede bachelor interieur presenteert projecten in Hasselt centrum7-8 mei 2015

Image Talks, symposium door onderzoeksgroep FRAME (MAD-PXL Research en ArcK, UHasselt).

20 april 2015

24 april 2015

24 april 2015 23 april 2015

28 april 2015

28 april 2015

28 april 2015 28 april 2015

7 mei 2015

7 mei 2015

A-Z in detail

7 mei 2015

7 mei 2015

JAAROVERZICHT

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7-29 mei 2015

Image Talks, tentoonstelling door onderzoeksgroep FRAME (MAD-PXL Research en ArcK, UHasselt).21-22 mei 2015

Oswald Devisch & Sarah Martens organiseren conferentie ‘Design, Social Media and Technology to Foster Civic Self-Organization’, oude gevangenis Hasselt

22-25 mei 2015

Expo & lezing over de rol van maquettes in de opleiding architectuur bij TOPOS during Kunsttour 2015, Maastricht19-21 juni 2015

EXIT/15 Herckenrodekazerne Hasselt21 juni 2015

ahk04 _ Architectenhuiskamer @ ?18-28 augustus 2015

summer school seamless retail design in samenwerking met TUDelft en Politecnico di Milano

28 april 2015

28 april 2015

7 mei 2015

7 mei 20157 mei 2015

7 mei 2015

21 mei 2015

21 mei 2015

21 mei 2015

21 mei 2015

22 mei 2015

22 mei 2015

23 mei 2015

23 mei 2015

JAAROVERZICHT

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TEAM THEORETISCHE ENPRAKTISCHE ONDERSTEUNING_

MenswetenschappenAlida Van WijckJan Vanrie

CultuurwetenschappenSaïdja Heynickx Bie PlevoetsKatelijn QuartierKris PintKoen Van Cleempoel

Exacte en Toegepaste WetenschappenElke KnapenPeter FirmanRoger VervoortJo LangendriesDimitri MintenGriet Verbeeck

Projectmanangement Walter NiewoldJo Langendries

Schetsen & CAADJan Bastiaens Gitte HarzéWerner Albert Katrien Raedts

Studiebegeleiding en Ombuds:Jan Posen

Studieloopbaanbegleider Alida Van Wijck

BibliotheekPhilip Speelmans

UitvoeringsatelierStefan Vanstraelen & Luc Mertens

_

Grafisch ontwerp: Jo Klaps,brusselslof.be

Redactie: Kris Pint & Jo Klaps

Fullpage fotografieRoger Vervoort & Jo Klaps

Druk: Drukkerij Paesen

Papier: 150 gr Multidesign White Smooth

Lettertypes: Trade Gothic, New Veljovic Pro

ISBN:978-90-8913-038-9D/2015/2451/01

© 2015

_

UHASSELTFACULTEIT ARCHITECTUUR EN KUNST_

Universitaire Campus, Gebouw E3590 Diepenbeek, BelgiumT 011 24 92 00F 011 24 92 01

fac-ark.be

UHASSELTFACULTY OF ARCHITECTURE AND ARTS_

Universitaire Campus, Gebouw E3590 Diepenbeek, BelgiumT 011 29 21 01

EXIT 15Interior Design-MASTERPROJECTSObject & Design - Scenography - Retail Design - Adaptive Reuse

2

TEAM - LEO AERTS, SAIDJA HEYNICKX & GILBERTE CLAESPHOTOS: STUDENTS

MASTERSTUDIO OBJECT & DESIGN

1. & 2. Silke Renders3. & 4. Ariane Flamand

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2

1 2

3

4

3

TEAM - LEO AERTS, SAIDJA HEYNICKX & GILBERTE CLAESPHOTOS: STUDENTS

MASTERSTUDIO OBJECT & DESIGN

5. Martina Lorenzini 6 & 7. Martine Bartels-

5

6

7

In the masterstudio Object & Design we focus on techniques to make furniture more ergonomic and multifunctional and which create more possibilities for the user. The core of this exercise is on working with actual models within the design process.

4

MARTINE BARTELS | [email protected] | +32 495 94 74 10

FROM BARK TO FURNITURE:THE CHARACTERISTICS OF CORK PROCESSED IN FURNITURE DESIGN.

Who doesn’t know cork? Everyone has at one point been

in touch with an object in cork, but not everyone knows

the origins of this material. Cork is a natural, renewable

material, originally from the cork oak with its structure so

unique that it can’t even be imitated by the most modern

technologies. Furthermore the material is easy to recycle

and durable. It can occur in various forms and can be

processed in different objects and products.

My dissertation exoplains the origin of cork and

introduces you to the production process of different

types of cork. Based on case studies, I xplain the differ-

ent techniques used on different existing objects and I

perform a qualitative and quantitative study. Through

experimentation with cork, I got to know the material

better and I discovered the positive and negative qualities.

Throughout the research it’ became clear that cork is a

soft and child friendly material with a flexible structure

that after deformation returns back to its original shape.

Children’s furniture is therefore a logic consequence of the

theoretical research. De tactility of the cork is important

for children’s furniture and becomes a great inspiration.

The qualities of the cork are being highlighted by incorpo-

rating them into the design of the furniture, resulting in a

link back to the research. The use of finishing techniques

results in different structures that have a positive contri-

bution to the development of touch for young children. To

stimulate the physical development of the child, the de-

sign becomes a movable piece of furniture that is dynamic

and instructive at the same time. The child, through its

imaginative mind, can make use of the furniture on all

sides and therefore improve his gross and fine motorics.

By making a cutout in the furniture, it will be lighter and

easier for children to use it independently.

MASTERPROJECT MASTER OBJECT & DESIGN

5

ARIANE FLAMEND | [email protected] | +32 0485 83 85 92

A SUSTAINABLE RETAIL DESIGN OF HONEYCOMB CARDBOARD

The fashion industry is a fast changing industry. Trends

and collections are coming and going in a fast pace. It

is important to attract the attention and to differentiate

from the competition. The lifespan of retail design is often

very short because it has to be replaced by a new concept

every five to seven years. This results in a high amount of

waste and costs during the building and destruction pro-

cess. Due to the fact that the destruction can not take too

much time and that throwing away the materials is often

easier than recycling, it is not always possible to process

the waste in the correct way.

In this master project I propose a solution to these prob-

lems: a sustainable retail design for mainstream clothes

stores. I will focus on the furniture: “sustainable” wall

systems and mid-floor elements, and I will elaborate on

sustainability from “materialization” point of view. The

design rules and conditions the sustainable retail design

has to meet and the used materials are defined through

research:

‘A light modular or demountable design of which the mini-

mal material use is easy to separate and afterwards easy to

degrade or to process, made of honeycomb cardboard.’

Within the concept of “sustainable retail design” I direct

my attention to the mainstream clothing store H&M such

that I already have a base to start working from. H&M

profiles itselves as “sustainable” and they have recently

introduced the H&M Conscious Collection. A sustainable

retail design can therefore also be used to strengthen the

“sustainable” image.


6

RENDERS SILKE | [email protected] | +32 0494 07 73 52

BACK IN ACTION

This chair is designed to prevent back problems. It is a

chair for people in sedentary professions in which they sit

for long periods of time. My research shows that move-

ment is a priority in order to prevent back problems. It is

important to frequently change seated positions. Muscles

are made to move. The best seated posture is always the

next one. Movement keeps the muscles active.

However it is important not to overload the muscles. After

a few hours one needs to switch to a passive seated posture

in witch the muscles are less in use and get a chance to

relax. In this position one needs appropriate support of

the lower back in order to keep the back in its natural S-

curve. Sitting with a swayed back too long can be harmful.

It is important to frequently alternate active and passive

seated positions.

The chair is conceived in plywood. I wanted to use the

plywood properties to come to a back-friendly solution.

Plywood is elastic and resilient. Therefore it can bring the

movement to the chair.

The idea was to make one chair on which one can sit both

actively and passively. The first position is passive: a per-

son is sitting stable and the lower back is supported. The

back muscles can relax. In the second position a person

is sitting active: by sliding to the front a little and through

the force of the plywood that was tensed and wants to

come up, one experiences a similar effect as sitting on a

sitting ball. You sit with the back in the natural S-curve

on a moving chair. The back muscles are now constantly

working hence, getting stronger. The chair offers different

seated postures which provides the necessary variation.

MASTERPROJECT MASTER OBJECT & DESIGNN

7


8

TEAM - JO KLAPS, KRIS PINT & REMCO ROESPHOTOS — JO KLAPS & STUDENTS

MASTERSTUDIO SCENOGRAPHY

ONE OBJECT, MANY VISIONS1. Britt Ballet 2. Cheuk Hin Jeffrey Chow 3. Kit Tam 4. Talitha Lenaerts

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1

2

3

4

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TEAM - JO KLAPS, KRIS PINT & REMCO ROESPHOTOS — JO KLAPS & STUDENTS

MASTERSTUDIO SCENOGRAPHY

ONE OBJECT, MANY VISIONS 5. Axelle Lens 6. Annelies De Winter 7. Katrien Spaas 8. Stany Siongers

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6

7

8

5

The students in the masterstudio Scenography entered The young scenographers contest which is part of the internationally oriented project ‘EuroVision – Museums Exhibiting Europe (EMEE), a European museum development project for national and region-al museums. The goal was to allow the visitor to look at objects from a new European perspective and to reinterpret them as representatives of trans-regional European connections. The projects of Katrien Spaas and Talitha Lenaerts were nominated and are published in the catalogue.

10

BRITT BALLET | [email protected] | +32 0499 16 75 15

NINE RIVERS DEEP

The pleasure of life only lasts for a moment. Life is a

process of decay and impermanence refers to our tempo-

ral existence. We think that time moves forward, in the

direction of what is still to come. But we experience our

lives like the future comes to us, backwards. And if time

is a river, it doesn’t matter in which direction it flows, we

float with it.

‘Nine rivers deep’ is a visual design about memories and

how they are significant in the lifetime of a person. Based

on a quest I wanted to shape the unspeakable. I searched

for a way to capture something as fleeting as a memory.

A rising memory is often more intense than the moment

itself, only because it is so elusive.

The design includes a poetic translation of a lifetime full of

precious moments and memories. According to research

I divided this life into nine stages. Where everything

normally starts at the birth, I start at death to look back on

a life. This is also the direction our memory follows when

we think back and reminisce.

I made use of some metaphors to translate a life into an in-

stallation. One of them is the river in which memories can

float, sink or drift away. To visualize the contrast between

life and death I use birds. The exhibition also shows hands,

from young to very old. Hands show the age of a person

but they also make memories, they cause a sensation. And

our body is also the bearer of a river that flows through

our veins.

MASTERPROJECT MASTER OF SCENOGRAPHY

11

ANNELIES DE WINTER | [email protected] | +32 475 59 15 29

EXPERIENTIAL SPACE OF ‘BEING’

My starting point is the overconsumption of impressions

of living in a city. After the observation of a city you feel

that there is a ‘multitude’ of activities with a limited num-

ber of quiet places. In addition, the places which do create

natural silence are culture related. That is why I to looked

for a location where creating a space for taking a break is

not so obvious.

I found an uncultivated piece of land between two build-

ings ready to be engulfed again. A gaping open wound

where virtually a piece of the past had been teared away.

This ‘decomposed past’ has something nasty; the environ-

ment seems to be in shock.

I created a breathing space that would translate chaos into

rest. Seeing beauty in the nasty, and creating something

new with what at first glance seems to be waste.

The re-use of the silhouette of stairs was the starting point

of my design. For instance, the installation will be lifted

to a higher level to allow the groundfloor to still carry the

vibration of the city. A first act to move from the environ-

ment. Through the transparent gangway one enters

further inside the installation. Visitors are urged to walk

carefully, almost floating, as they and reach the central

point of the installation.

In this center one will focus automatically on the contrast

between the transparent floor and the sky. The high,

round wall, wrapped in plastic foil, will protect against

impressions of the city. As an ‘in’-wrapped caterpillar,

one can experience the silence, after recording all the

impressions.


12

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ELINE JANNIS | [email protected] | +32 477 92 44 47

A JOURNEY BY TRAIN THROUGH BELGIUM

My master project is about travelling by the train in Bel-

gium. What makes travelling by train more interesting and

different than taking the bus or driving a car? I will answer

this question with a photo exhibition in an old train sta-

tion. The train station is situated in Montzen. Montzen is

a city in the East part of Belgium. The building is almost

100 years old and has an unique and authentic character.

Me, myself made a trip with the train in Belgium and vis-

ited several train stations. During this trip I took pictures

which will be dispalyed at this exhibition.

In my concept I combine the old character of the building

with new spatial installations about my train photography.

I also work with reusable materials like containers. My

ame is to surprise the visitor of my exposition while still

respecting the original constructions and materials of the

building.


13


TALITHA LENAERTS | [email protected] | +32 478 46 55 20

AS-SALAAM-ALAIKUM: WOMEN IN ISLAM

As-Salaam-Alaikum, an exhibition with the purpose to

picture the Islam, and more specifically Muslim women,

in a more balanced way. I started my research with the

prejudices about the position, rights and the oppression of

Muslim women. Why do Muslim women wear a veil? How

do they experience their position in Islam? These ques-

tions will be an answered in the exhibition.

Beside this experience (in the form of testimonials) the

necessary historical and theological background will be

given as well. This is interesting and instructive both for

Muslims and non-Muslim. What does the Quran say about

the position of women? Why are things happening that

are not acceptable? The information aims to alter people’s

perspective on the subject in a more positive way.

The exhibition will take place in a church: the Predikher-

en-church in Leuven. For the design of the exhibition, I

did research on Islamic arts and architecture. This led me

to the art of Islamic patterns and more specifically to the

‘girih-tiles’. This is a set of five tiles or templates that were

discovered by two physicists (Lu and Steinhardt). They

came to the conclusion that the symmetrical patterns of

Islamic architecture are made up of these five basic forms.

I introduce these ‘tiles’ into the church in the form of five

“tents”. These volumes are decorated with materials and

textures inspired by the veil of Muslim women. The idea of

being able to see without being seen. This creates a game

of (in) visibility.

14

AXELLE LENS | [email protected] | +32 495 61 60 79

ELECTRONIC MUSIC IS MY NATURE

My project is about the visualization of electronic music.

In my exhibition the visitors can experience and look at

electronic music in a way they never did before.

The design is based on my research about electronic

music. I challenge the visitor to look at the music from

a different point of view by showing images that define

electronic music for me.

The exhibition consists of multiple installations that all

show a different aspect of electronic music. There is one,

for example which tells the history of the music and an-

other one where people can look at themselves in mirrors

that will give a deformed reflection.

All installations vary in form and content but they have

electronic music in common.

After doing my research I can conclude that electronic

music looks like the waves of the sea and the clouds in the

air and that it exists in bright colours but also in black and

white.

Electronic music is a rhythm.

A rhythm of nature.

A rhythm of trees and mountains, raindrops and waves,

clouds and human beings.

The idea of rhythm will appear on the different installa-

tions in my exhibition.

The concept behind this design is to open everyone’s

mind, to show people that electronic music can be more

than they might think at first sight.


15


LOBKE MEYKENS | [email protected] | +32 498 06 86 87

FROM PASSIONATE ENCOUNTER TO SYNERGETIC MOVEMENT

My research and design tells you a story about a passion-

ate encounter: fashion and scenography! Starting from

similarities and differences and clarifying some abstract

terms, the story of both handicrafts becomes clear. The

abstract terms space, time, shape and movement are

examined for their importance in both architecture and

fashion. Scenography broadens and enhances the term

‘space’ in this encounter: the space is analyzed through

fashion and fashion through the space.

The design starts with the translation of some fashion

terms in this space, by means of models. The pattern of the

garment as a starting point inspires and directs the space

of the exhibition. A two-dimensional story is thus brought

to a three-dimensional level. The building I choose to

use is an old hall of the former Philips buildings (Corda

campus). Besides fashion shows, this space is transformed

into a meeting place for sharing creative ideas. There will

be several small and medium-sized spaces where readings,

private concerts, small gatherings and informal, creative

encounters can be organized. At that moment, scenogra-

phy and fashion literally meet each other in the space.

After researching how the scenographer uses a space

to tell a story, I discovered that the concept made by a

fashion designer adds an additional dimension to the story

of the scenographer. There is an interaction between the

two crafts such that they complement and reinforce each

other.

I start with the story of the fashion designer as the inspira-

tion for my design. David Catalán is a young Spanish

fashion designer I met during my Erasmus period. He

asked me to design a specific scenography for his COVER-

LESS collection SS15.

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SHANNEN SMETS | [email protected] | +32 476 68 47 32

WANDERING ILLUSIONS“To go — not knowing where; to bring — not knowing what”

(Shklovsky, 2011, p269).

In response to the repertoire of director David Lynch and

his colleague Stanley Kubrick my fascination with the

everyday alienation increased. What is alienation and how

can I convert this abstract idea into an art installation? To

gain insight in the phenomenon of “alienation” I looked

into the work of various philosophers; Viktor Shklovsky,

Friedrich Nietzsche, Bertolt Brecht and Louis Aragon. All

four have their own vision on and theory about estrange-

ment. For every philosopher, I analyzed the concept

visually according to some quotes from their most famous

work about alienation. I have translated their ideas in

several art installations. The design solution is a trail of

illusions.

Louis Aragon talks mainly about wandering around and

discovering a city. I have translated this into an art tour

in the city of Ghent. The tour consists of illusions that are

located on the water around and through Ghent and on a

few alleys and the main tourist squares in the city. Viktor

Schklovsky devides estrangement into various compo-

nents; Depth, time, recognition, content and conflict.

These components are used to create the installation.

They are translated into several materials as well. A

material with a surface that reflects, like a mirror, is used

to describe depth and recognition. Content and conflict

is the whole of different illusions. According to Friedrich

Nietzsche, estrangement is expressed by our perspectives

on the world. The observer has a subjective and personal

perspective. I’m trying to change this perspective by

changing the known into the unknown.

Illusions are created to trick people’s vision, sometimes we

don’t understand these optical illusions at all.


17

KATRIEN SPAAS | [email protected] | +32 479 66 14 45

MUSEUM IN THE ATTIC

For my master paper, I chose for a project that can be

executed in real life. I designed an exhibition that will be

displayed in the local museum of Halle. The exhibition

will display the history of the city. Because the director of

the museum asked for an exhibition ‘under construction’,

I will work with wooden moving boxes and other different

packaging materials. I use these boxes because they are

often used by museums to move artworks and paintings.

In order to increase the curiosity of the visitors, the ob-

jects will be presented in an unconventional manner. The

boxes will be placed in such a way that they still seem to

be unpacked.


18

TEAM - KATELIJN QUARTIER & PHILIPPE SWARTENBROUX

MASTERSTUDIO RETAIL DESIGN

1. & 2. Caro Weyens 3 & 4. Eline Brepoels-

1 2

4

3

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TEAM - KATELIJN QUARTIER & PHILIPPE SWARTENBROUX

MASTERPROJECTS: MASTERSTUDIO RETAIL DESIGN

5 & 6. Greeven Jessie7. Jury

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5

6

7

Designing an interior for Lovemark. Creating a small scale retail-environment in which product and architecture merge to one experience.

20

BAETEN JULIE | [email protected] | +32 472 61 39 71

REUSED LOCATIONS AND MATERIALS

As I chose for retail in my design studio and adaptive reuse

in my seminar, my thesis logically combines both aspects.

The concept of ‘Adaptive Reuse’ usually reminds me of

old, historical buildings that are reused and therefore

transformed into a customized design. But the concept is

applicable to other contexts as well. Next to buildings, also

materials can be given new life. For my graduation proj-

ect, I found a brand that deals with the reuse and recycling

of materials, and more specifically, the reuse of fabrics.

8pm is a young Italian brand that designs fashionable

clothing with all kinds of recycled textiles.

Inspired by this brand, I designed a clothing and acces-

sory store that sells products developed according to the

same philosophy. Reuse and recycling are central to the

production process. The brands I work with often haven’t

developed much brand awareness yet. Therefore, my

store is both an outlet and a showroom where retailers can

exhibit or launch their products.

The concept is housed in a former town house dating

from the 19th century. The property is situated in the

Everdijstraat in Antwerp and includes a courtyard and a

garden that I both optimally integrated into my project:

as a public outdoor space, and as a terrace. Next to store

and show room, I provided the additional use of bistro, so

customers can enjoy a good cup of coffee or home made

tea after shopping. The design offers more than just com-

mercial space, it is a place in the city where customers can

go on discovery and afterwards come to rest.

MASTERPROJECT MASTER OF RETAIL DESIGN

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ELINE BREPOELS | [email protected] | +32 496 70 34 56

CUSTOM ART BOOKSTORE

In recent years, the independent bookstore has known

many setbacks. This is due to the competition of the

online shops and department stores. However, a local

bookstore has an individuality which is worth protecting.

I focused my research on the position of this independent

bookstore in the market. I used the results of a question-

naire to design an art bookstore. Also art objects are sold

in this store. I focus on a building in the Leuvensestraat

in Diest.

The design of the floor plan is based on my favorite paint-

ing by Wassily Kandinsky, which is named “Composition

VIII”. I copied the interesting parts of the painting and

placed them together. I’ve made a new composition by

puzzling all the pieces together. Next I used the most

notable lines of this new composition for the design of the

floor plan.


22

DE METS NELE | [email protected]| +32 474 34 42 41

A RESTING PLACE IN A PLAYGROUND: DESIGNING AN INCLUSIVE PLAY ENVIRONMENT WITH THE EXPERTISE OF CHILDREN WITH AUTISM

An inclusive society of which everyone can be a part,

regardless of their differences, is something that has not

been attained yet. People with a disability still experience

a lot of obstacles.

For children in general, it is important to have lots of

opportunities to play in their daily lives. These moments

contribute to their development. If this can be done

outside, they will encounter much more possibilities and

challenges. However, for children with a disability it isn’t

always easy to participate in outside playing because the

environment is rarely inclusive.

Children with autism benefit from a place to rest when

they experience an excess of stimuli. When a resting place

in a playground is provided, children with autism, but also

children with or without a disability, don’t have to look far

to ‘hide away’.

Upon closer inspection, the ‘resting place’ is an abstract

concept. Research in which also children’s own expertise

was integrated lead to design criteria to define a resting

place. These criteria are the foundation for the design of

this masterproject. Some of them are: including nature in

materials or as a theme, using familiar forms - so children

will be less frightened -, stimulating the senses, provid-

ing something to keep them busy, … This design, placed

in a city environment, is a blend of all these criteria. The

resting place contains different spaces, each focussing on

a specific sense, in order to avoid too much stimuli in one

place. The interior of the place is designed in function of

the chosen sense.


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JESSIE GREEVEN | [email protected] | +32 0473 63 51 02

SUSTAINABILITY IN RETAIL ENVIRONMENTS

Sustainability is an important answer to the issues that

arise in our society today. Safeguarding our future is no

longer self-evident because of the way we treat the earth

today. As a consequence, the awareness grows that it is

time for a change in our behaviour. This change also

needs to be implemented in retail environments and retail

design. Therefore research is done to discover suitable

methods to incorporate sustainability in a retail design.

The main idea is to implement this sustainability in the

design of a lifestyle store. Within this concept the main

focus is on the consumer. This idea is twofold. First cus-

tomers who already have a sustainable lifestyle are given

an overall concept with products they can use to express

their values. On the other hand, the design of this sustain-

able store can inspire people who are not yet conscious

about sustainability to choose a more sustainable lifestyle.

Inspiring these people is done by creating settings and by

combining products to show the customer how they them-

selves can combine and integrate these products in their

own lifestyle. In addition, involvement of the customer is

an important element. It is the intention that they can be

part of the shop and its sustainable concept.

Another important part of the design is to educate the

customer about the sustainability of the store and its prod-

ucts. However this should not be done in an overwhelming

way. The customer needs to feel and discover in a subtle

way that it is a sustainable store with a sustainable interior

and products. This information is visualised by using say-

ings, poems and pictures.


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CAROLIEN POTTER | carolienpotter@gmail. | +32 475 48 40 42

HONG KONG IN BELGIUM

Even before Marco Polo travelled and documented

his travels to Asia, there has been an interest in other

unknown countries, different customs and cultures. Even

now, times have not changed. As I wanted to know how

one can (re)create the feeling of another country’s culture

and surroundings, I chose to study Hong Kong and I tried

to bring this experience to my home country Belgium. In

order to do so, I studied Hong Kong and its culture as a

potential ‘product’ to sell in Belgium.

As a result I have created a store and restaurant, which

sells brands that follow the Hong Kong mindset, reflecting

its distinct culture and environment of Hong Kong. As

I did not want to recreate the city literally, I have used

metaphors and representations to refer to particular

differences or striking elements from that culture that

I – and other locals – associate with Hong Kong. Such as

the city being alive, the use of straight lines and no curves,

the fast pace of the daily life in Hong Kong and even the

link with the expensive side of the city. As well as the more

obscure connection with the unknown nature next to the

well-known buildings. All these representations combined

create a wow-factor that one gets while exploring the

city and its culture. The result is a retail design concept

in which the lifestyle and atmosphere of Hong Kong are

portrayed.


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WEYENS CARO | [email protected] | +32 472 96 74 82

CRAFTS AND CRAFTSMANSHIP IN FASHION IN AN URBAN ENVIRONMENT IN ANTWERP

In this research i focus on elaborating a retail concept

regarding crafts andin particular, the craftsmanship.

Currently consumers want more than just a product. They

want to see how and by who the product is made. They are

searching for unique products, which offer them personal

added value. They are also searching for products which

fit their personality.

The distance between a producer and a consumer is often

too big. As a result, products do not offer any personal

added value. Producers and consumers need to cooper-

ate in order to create a unique product, which offers an

answer to the personal needs and wishes of the consumer.

Crafts and craftsmanship fit perfectly in this picture.

Crafts are getting more and more interest again today;

however true craftsmanship mostly disappears. Therefore

the goal of this research is to find a way to focus the atten-

tion on craftsmanship again.

Urban crafts are another subject discussed in this re-

search. Mostly young people are part of this phenomenon.

In these crafts different kinds of new technologies and

media are used.

Creativity is an important aspect for these young people.

This is completely the opposite compared with the most

important aspect for a craftsman. A craftsman focuses

mainly on technique. The quality of the product is the

indisputable priority for him, while an urban crafter or a

designer focuses on the appearance of the product or the

level of innovation.

26

TEAM - VICTOR SIMONI & KAREN LENS

MASTERSTUDIO ADAPTIVE REUSE

1. Jolijn Geeraerts 2. Valerie Aegten-

1

2

4

3

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TEAM - VICTOR SIMONI & KAREN LENS

MASTERSTUDIO ADAPTIVE REUSE

4 & 5. Location6 & 7. Heidi Grognard

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75

The design studio ‘adaptive reuse’ studies two monasteries, one rural and one urban, in the province Limburg (Belgium). Both the Benedictine ‘Achelse Kluis’ and the Franciscan ‘Minderbroeders of Sint-Truiden’ are in danger to lose their original monastic function and therefore to be underused. However, they can inspire us to deal with contemporary challenges.

The students have to develop a program to re-interpret and even strengthen the existing qualities of a monastery as a layered spatial and social hybrid node, which links daily life to spirituality in a balance between individual and community. In groups of four the participants create a puzzle of basic pieces, which could act as catalysts to a master plan or, more important, to a careful revitalization of these religious heritage sites. Real cases, interaction with ex-isting stakeholders, interdisciplinary lectures and lively discussions stimulate them to present well-conceived proposals.

6

6

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VALERIE AEGTEN | [email protected] | +32 473 76 74 64

A DESIGNED SPEECH THERAPY ROOM BASED ON THE WEAK AND STRONG ASPECTS OF A LEARN-ING DISABILITY

It is not that easy to live with a learning disability. You get

confronted with it in kindergarten, primary school, higher

education and even at your job. A learning disability is

something you live and struggle with during your entire

life. The negative aspects of it are always brought to atten-

tion. But why is that? It won’t make a kid with a learning

disability any happier. In this thesis, the negative aspects

of a learning disability will be looked at in a positive way.

A speech therapist helps people to deal with their learning

disability. The speech therapy room is usually not that

enjoyable for a child. It is something I have experienced

in my own childhood because I suffer from dyslexia.

By doing a thorough literature study making, a spacial

analysis of the premise and by studying different cases

(e.g. a nursery, a speech therapist office and a paramedic

center) I came up with a concept that uses the weak and

the strong aspects of a learning disability. This concept will

be applied in the speech therapy room, but it won’t cause

problems for the weak aspects of a learning disablility. The

therapy room will be situated in a house in the centre of

Bree and will be combined with a after school nursery and

a private home. There will be a more natural and more

pleasant transition between the speech therapy room and

the after school nursery. This will affect on the child and

parents in a more positive way.

MASTERPROJECT MASTER OF ADAPTIVE REUSE

29

WINDE BIJNENS | [email protected] | +32 472 90 19 81

SHELTER FOR ASYLUM SEEKERS: ARCHITECTURE AS A POSITIVE START TO A NEW CHAPTER IN LIFE

‘People on the run’ has become an everyday topic, both at

a political level and among the general public. The people

are looking for protection and upon arrival in our country

they must apply for asylum. The asylum procedure takes

usually a long time and therefore the asylum seekers get

a place in a shelter. They live together in a temporary

Centre and wait there on their residence permit. As a

designer, I started thinking how I can make the asylum-

seekers temporary stay more pleasant. I based myself on

the current asylum Center Ter Dennen in Lanaken, which

is based in a former child sanotorium. My goal is to create

a positive environment, in which asylum-seekers are able

to flourish as persons, despite their difficult circumstances

of life. The shelter should be a good start to a new chapter

in their life. I have opted to draw a master plan in order to

ensure the feasibility of my project. I add a second hand

shop, a Brasserie and a multipurpose hall to the program

of the asylum Center. This is open to externals and the

asylum seekers themselves. Single people sleep together

in one room in the Center. A part of the space in the bed-

room is a kind of box where all private element fit in: the

beds, the wardrobes and a washbasin. The other section

is the ‘ free ‘ space. Here, residents sit when they like to

retreat to their room.


30

ZOË CUYVERS | [email protected] | +32 484 77 81 94

CHERISH THE SPIRIT OF THE LEFT SQUATTER:AN APPLICATION ON THE FORMER SQUATTED BUILDING ‘PLAN Z’

The squatting community in Belgium has never been

this active and aggressive compared to our neighbouring

countries. Still, it is a unique community which must be

preserved in my opinion. In this project, a new interpreta-

tion is given to the former squatted building ‘Plan Z’ at

Louvain, Belgium. Taking into consideration the vision of

the squatting community and determined context, the de-

sign is based on four assumptions: art, freedom, education

and discovery. Here the concept of Free-Arts Centre ap-

pears. A place where creative people as well an accidental

passer or interested person can come together. They can

use the art-studios, exhibition space, gym or music studios

for a reasonable price. The left squatter will not only stay

present in the building by the concept, but as well by his-

torical preserve of valuable elements from the squatting

history such as graffiti, slogans and unique furniture. The

design makes a start to the preservation of the squatting

community and buildings in Belgium. These buildings

exude the spirit of a period that belongs to our recent past.

Hopefully, this proposal opens new perspectives such that

the squatting community can get the chance to surprise

people and take them on an unforgettable adventure.


31

INGE DONNÉ | [email protected] | +32 495 36 90 80

ADAPTIVE REUSE OF THE WATERTOWER IN HOEILAART TO A COWORKING PLACE

Nowadays the loss of function of watertowers is increasing

due to the development in water distribution. An adaptive

reuse of them would be a solution to protect, respect and

even upgrade their unique character. Some parameters

were revealed in my research which need to be designed

in function of every specific watertower which will face

adaptive reuse. These parameters are used as the basis in

the final project.

Location: Important viewpoints are created towards the

nearby Zonienforest: a funnel shaped box following the

shape of the columns peaks out of the watertower. Also a

balcony was created at the waterreservoir. Inserting win-

dows in the reservoir frames the landscape. A panoramic

terrace hangs over the actual tower.

Circulation: An elevator is located in the center of the wa-

tertower. Outside light looking stairs create an interesting

course around the tower.

Form and Structural interventions: Every intervention

is designed in the footsteps of the structure of the tower.

Not only big interventions but also the design of furniture

developed out of the structural aspects.

Use of material: Original materials, mainly concrete

and bricks, were respected as much as possible. All new

interventions are made out of steel, which emphasizes the

industrial character. All new floors are made out of wood.

Light: In the foot, a general light lights up the 8 collums.

In the waterreservoir the space between the inner and

outer wall is used to lighten up the space.


32

JOLIJN GEERAERTS | [email protected] | +32 478 39 60 59

REALLOCATION OF ‘HET ZEGEL’ WITH RESPECT FOR THE STORIES BEHIND THE DECAY.

The former stamp printing building het Zegel in Mech-

elen is an industrial relic that has been vacant for over

twenty years. Nonetheless there are still many fragments

and scars from the past that tell the stories behind the de-

cay about the activities that once occurred. During many

visits and thorough research I wondered if these fragments

could be set in interaction with a new completion for the

building. Therefore, I give a specific design proposal that

connects to the identity of the historic structure of het

Zegel.

It became important to let the building be a museum of

its own history with a collection of its different layers over

time. The reallocation is therefore twofold. On the one

hand het Zegel will become a museum of its fragments

and scars of the past and on the other hand it will be an

actual museum where the historic stories about printing,

collecting,… of postage stamps are brought back to the

present. In both cases the stories behind the decay will be

further told in its entirety.

The function of museum, with permanent and temporary

exhibitions, will be completed with an entrance for ticket

sale, a museumshop, a bistro and administration on the

first and second building layer. These floors, together with

the third and the fourth, also receive a completion with

business spaces for different sizes of companies. In this

way the conversion gives het Zegel a perspective for the

future, consisting of two major scenarios that eventually

can form themselves into the entire building namely a

museum with a large art collection or only a vibrant gath-

ering of business spaces.


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HEIDI GROGNARD | [email protected]| +32 479 43 11 60

ADAPTIVE REUSE OF A WATERMILLDE SLAGMOLEN: AN OASIS IN THE CITY GENK

De Slagmolen is a 16th century watermill situated just out-

side the center of Genk and is connected to the river “De

Stiemerbeek”. To be able to convert this cultural property

in a respectful manner and contemporary way, the genius

loci, or “spirit of place”, must be preserved in the best

possible way. First, I did some research about watermills

in general: how many are situated in Limburg and what

are their current functions? Next, I performed environ-

ment analyses of Genk, the site and the building itself.

Then, I analyzed the current interior design and the mill’s

elements. Finally, I conducted six case studies with the

purpose of forming my own vision, which I could apply to

my project. These cases showed that, in order to preserve

the genius loci, it is not necessary to maintain all the mill’s

elements. The carefully chosen elements must harmonize

with the new design. This adds to the authentic feeling of

the building, even if the latter currently doesn’t serve its

original function.

De Slagmolen is to be a family friendly bistro that houses

a multifunctional room for meetings or festivities and also

accommodates its owners. In order to preserve the genius

loci, I only chose those parts of the building that add to the

authentic feeling of the mill as a whole, in combination

with all of the mill’s elements. This resulted in the creation

of a new building that meticulously complements the

original building and its mill. Orientated in the direction

of the river and the mill’s beautiful garden, the new build-

ing will extend the original building. De Slagmolen will be

an oasis in the city of Genk, once again.


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JULINE HAGELSTEENS | [email protected] | +32 0477 18 62 51

AN INCLUSIVE SPORTS ENVIRONMENT WHERE EVERYONE CAN SPORT.

From an old railway shed to an inclusive sport center.

Sports for your health, sports for relaxation, sports for

meeting people, ... sports are good for everyone, but not

everyone has the possibilitie to do sports. Certainly people

with physical disabilities.

In my master’s thesis, I investigate how we can make sure

that as many people can do sport, despite their limita-

tions. How can we as designer, design an inclusive sports

environment that is usable by as many people as possible?

As location, I chose a large building, an old railway shed

in Kessel-Lo.

It is a big open space, which I needed for the sport hall.

For my design, I split the large space up in two parts, one

part that I use as sports area, for basketball, volleyball

and badminton. In the other part I place a freestanding

module where all the facilities take place.

A pavilion in Valencia by Chipperfield inspires me to

design the module. The module is four floors high and has

extended terraces in different ways. Every floor is unique

in it’s form.

One first floor, there is a large terrace on the cafeteria that

passes trough outside, where you have inside and outside a

great view over the sports area’s.


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BABETTE HERBEN | [email protected] | +32 0494 34 57 97

REDESTINATION OF BREWERY ‘DE RIDDER’ IN MAASTRICHT INTO A TEMPORARY ACCOMODA-TION FOR SQUATTERS?””

I started my research because of the problem of the

existence of abandonment.. I am interested in this subject

because I spent my Erasmus abroad in Porto, where you

can see a lot of abandonment. Because of personal contact

with the concept of anti-squatting, I focused my research

on squatted buildings. If abandonment ceased to exist,

squatters would have to quit their practices. Through

this research I want to formulate temporary solutions for

squatters, because in that case they won’t need to illegally

occupy empty buildings. I focused my research on three

city’s; Porto, Brussels and Amsterdam, as an inspiration

for my design project.

My master design project will focus on an abandoned

building in Maastricht, named Brouwerij De Ridder, which

will get a new temporary program, in function of these

squatters. The concept is about co-housing, in which

all the facilities are connected to each other. First of all,

there’s a program for students who are squatting because

of the need for a place to live. There are different types of

studenthousing in my project. Second I designed a house

for people who temporarily need a place to live.


36


ELLA LAMBRECHTS | [email protected] | +32 497 87 29 76

SCARS AS GUIDANCE: REALLOCATION OF THE SERVICE BUILDINGS, SINT-TRUDO ABBEY

How can we deal with scars in buildings with a negative

past? This research question was the base for my design.

The service buildings were destroyed in the 90s by an ex-

plosion of the river. This river flows underneath the build-

ing and the explosion left many scars behind. The biggest

scar is the destruction of the mill building. I placed a new

building of weathering steel (also known as CORTEN steel)

on the foundations of the previous building. The new

volume will be placed between the walls of the former mill

building, which remained after the explosion. The new

building will be connected with the old service buildings

by overflows. This creates a beautiful and intense con-

nection between old and new. I chose for weathering steel

because it is a material that entails new stories and scars.

Other scars in my design will be handled subtle but clearly.

In the glory years of the abbey, the service buildings were

the center of activity. With my design, I want to create the

same activity in this part of the abbey. Craft, sociability

and activity must be central again. The service buildings

are being reconverted into a place that is attractive for

tourists and locals. The building will house a brewery, a

bottling plant, a pub, a traditional bakery, a conference

room, a daycare and two lofts.

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MICHAËL LENCHANT | [email protected] | +32 492 80 61 09

HORST REUSED: A STUDY OF THE “DONJON” AS A SPECIAL TYPOLOGY

This study shows a possible conversion to the castle of

Horst, especially the “Donjon”, the big tower of the castle.

As a result of an extensive environmental and historical

study, the castle can be divided into 3 compartments: a

bed and breakfast, a cafe and a museum area. In the past,

the castle owner used this building as a place to celebrate.

Now there will still be a place where you can celebrate in

style. Because many tourists pass along the castle, we must

involve this group. They can be a good source of income

for the various functions. Apart from the tourists, it is also

important that local residents get their share of the castle.

In the cafe villagers can meet and communicate with each

other. This cafe also serves as a resting place for the many

walkers and cyclists passing the castle. The museum as

well as the bed and breakfast will please the tourists. The

“donjon”, the fortified tower, will be a part of the museum.

This because it represents the identity of the whole castle.

Without the tower, the view of the castle will be changed

completely. The tower is also the oldest part of the castle

and now, it can tell its stories to the visitors. What hap-

pened in the castle in the past?

Because the tower is so important, the scenography of this

space is important too. It should improve the character of

the room as well as the entire castle.

The project is designed in such a way that that all addi-

tions, such as floors and walls, can be removed at a later

date, … . In this way we maximize the preservation of the

castle for the next generations.


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TOON MARTENS | [email protected] | +32 494 34 41 25

THE REUSE OF THE OLD COURTHOUSE

IN HASSELT.

For most people this brick monument has a negative connotation: people prefer not to come here because when needed, this was for serious matters. Therefore the challenge was to transform this feeling into a place where people like to linger. When searching for the right function the idea of a culture house came to my mind.The main idea is to create an opportunity for several cultural initiatives to expand their activities in the old courthouse. Some of them have a distant location in the city of Hasselt and can even move here.The tension between the old and the new function is needed to transform the courthouse from a very seclud-ed building to a building that’s open to the public. On a modest scale, creativity gets stimulated and will enhance

the perception of this place in the center of Hasselt.To offer a variety of options this culture house has two performance spaces, two exposition spaces, some confer-ence rooms and a dance studio. In summer there is also the possibility to organise an outdoor cinema on the lower terrace.A large café, restaurant and lounge with roof terrace supplement this program. The building is in almost perfect condition and has valuable ornamentation, patterns and other decora-tive elements. This makes it hard to do new functional additions for my cultural program. Therefore I choose to do research by scale models: interpretation, imagination and association get stimulated while working with these instruments. I tested my ideas in these models so I could immediately see if they harmonize with the context.


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NIELS NAEGELS | [email protected] | +32 491 64 62 36

THE ADDED VALUE OF A HISTORIC INTERIOR WITHIN REPURPOSING.

How we can deal with a historic interior during a redesig-

nation? This question was applied to the neoclassical law-

yers home “van Hal” in Turnhout. Formulating an answer

to this question is of great importance, such that we know

how to take the answers into account during a possible re-

development process. A historic interior tells us a lot, both

about the building and about its former residents. That is

why it is important during a redesignation to pay attention

to the presence of an historical interior that is present in

the building. In doing so, history will be preserved and ev-

ery day new ‘history’ will be created.

This neoclassical lawyers property obtains its former func-

tion as law firm back. But it is discounted to today’s stan-

dards with an eye on the historic interior that is present in

the building. Most elements are retained through the pos-

sible redevelopment process providing a dialogue between

authenticity and modernity.


40

MAIKEL SCHREURS | [email protected] | +32 494 99 16 76

REUSING JAN VLEMINCKTOWER WIJNEGEM: FROM A MONUMENT IN DECAY TO A STYLISH STAY

The concept I developed for the Jan Vlemincktower, is a bed and breakfast where nature and serenity will stand central. By reconstructing the entire castle complex with attention for the foundations, a remodeled courtyard and a newly built block, there will be space to insert wellness facilities. These focal points will create value and add vigor to the entire castle complex. It is also possible for guests who do not stay at the bed and breakfast to access the spa. Custom packages will be granted to suit everyone’s needs and wishes. The newly built block will ground the connection with the old coach house, which is included in the concept. Achieving collaboration with The Avantgarden, the company, which is a player on both national and international markets, can offer added value to the clientele. Clients who travel far and want to

work more closely with the company, will be offered an extra service. Not only the sleeping arrangements could be discussed with the company, the clients would also be able to draw an innovative design for the place where the foundations of the castle are located. This will allow me to better incorporate the vison of the company in my design. What’s more, the bed and breakfast will be open to organize celebrations, brunches, meetings, etc. when this happens in consultation. With this idea of the bed and breakfast in mind, the park will be slightly adjusted while it has to be accessible for everyone. In this manner, the story of the Jan Vlemincksite will be correct.


41

SVEN STAS | [email protected] | +32 479 23 09 99

HOUSE DOUCHAR

The house, designed by Leon Stynen, was built in 1936

for the family Douchar as home for Mr. and Mrs Douchar

with their six children. The large amount of livingspace

and the high number of bedrooms make this house

perfect for a B&B. The decision to turn this house into a

B&B was made with great respect for the existing concept

of the home. Changing this house into a B&B is also a way

to reintegrate the house back in society and get rid of the

negative image that is linked to the house at the moment.

The house has a structure of three layers which are listed

below:

Business: First we have the business-layer on the ground-

floor. The frontside of this layer will be used to welcome

the guests of the B&B. The private quarters of the owners

of the B&B can be found at the back of this layer. They

can be seen as the beating heart of the business.

Family life: The first floor will be used as a place where

visitors of the B&B come together. Here is space for

them to have dinner together or have a lovely chat while

sitting in the ‘cosy corner’. On the other hand, there is

space for the visitors to read a book or spend some time

doing leisure. In this way there is a reinterpretation of

the classical family life.

Rest: As the name of this layer already tells, this will

be the place where the visitors of the B&B can seclude

themselves to find some rest. There are five bedrooms

located on this layer, each with their own bathroom.


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DENNIS STEENO | [email protected] | +32 474 34 10 53

THE ADAPTIVE REUSE OF THE THÉÂTRE DES VARIÉTÉS, A FORGOTTEN HERITAGE OF THE INTERWAR YEARS.

My design concept is based on the idea of retrieving the

original concept values and layout once used in iconic

buildings located in Brussels. These iconic buildings served

as symbols to their surroundings and kept the neighbor-

hoods alive. Within the change of society during many

years, these buildings suffered, lost their original func-

tion and were eventually closed. Neighborhoods degraded

caused by the abandonment of these buildings, people who

frequently visited these places stayed away and in several

years criminality took over.

For this project, I have chosen the Modernist building

called ‘Le Théâtre des Variétés’. This building designed by

Victor Bourgeois and Maurice Gridaine opened as a Vaude-

ville theatre in 1937, located in the city center within ‘de

Vijfhoek’ (the inner ring road of Brussels). The Variétés

quickly changed into a movie theater after the decline in

interest for the Vaudeville theatre. In 1983 the movie the-

atre closed and has been abandoned until present day. The

building has many opportunities to open once again as a

cultural hotspot, like it used to be. The purpose of my proj-

ect is to redesign the original concept to create a perfor-

mance hall, which can respond to the many performances

that can be held in the foyer, a café and overall space of

performance. Brussels is an excellent place for these cul-

tural projects because of its multicultural identity; with the

adaptive reuse of the Variétés we can combine both past

and future into one characteristic element to serve once

again as an iconic symbol in the city.


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TINE VAN DOOREN | [email protected] | +32 476 50 87 26

THE VAGRANT ROOM, A DESIGNING STUDY OF THE MEANING OF A CHAMBER.

My story starts at the colony of Merksplas. The vagrants

site was a place where vagrants lived within the structure

of an agricultural life in the rural area of Merksplas. These

vagabonds were the outcasts of the society, placed in

these colonies. By working at the site, they could redeem

themselves and return to their original habitat. They often

chose to return to the colony, which was a home for them.

The unique character of the vagrant inspired the idea of

a ‘vagabond room’. For my research of this room I visited

several temporary homes ranging from ‘freedom to close-

ness’. One case closely resembled the vagrant. Here I pro-

vided an accommodation for psychotherapy. In my proj-

ect I put the accent on the bedroom itself. This room is not

only used to sleep but for the habitant it is a place to rest,

to hide, to think and to meditate as a spot of seclusion.

Also the arrangement of the rooms within the building is

important, as well as the space between the chambers. The

circulation area is also needed for recreational activities, a

storage or a location to rest. After examining the building

where the rooms are located, I discovered this hay barn

with a unique structure of beams and columns. Instead of

hiding it, I chose to show this structure in my design. My

project is a combination of research on the history of the

vagrant, the room, the interspace and the total structure

of the site.


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JANOU VLEUGELS | [email protected] | +31 6 29 22 20 18

BREWERY DE RIDDERFROM MOUTERIJ TO CONTEMPORARY FUNCTION

Brewery De Ridder will be driven by a set of new pro-

grams and their coherent functionality. The programs

combine the site’s historical and future functionality as a

new mechanism to seduce both younger and older target

groups. Due to its prominent location, the site can rely on

a continuous stream of pedestrians. The buildings will be

intended for one program each, but will consist of enough

flexibility to address future adaptations. The malting area

will revolve into a brasserie, event-rooms for rent and an

apartment on the top floor of the tower. The fusion of dif-

ferent target groups will ensure evolvement throughout

age groups on site. The front part of the site is developed by

my fellow student Babette Herbert. Her developments will

ensure the flow of students to the brasserie in combination

with “beer tasting”. The brasserie will have a stage for stu-

dents from Cumulus, so guests can enjoy their live music

while enjoying a drink and snack. These events can take

place throughout the week and not solely in weekends.

The history of the brewery ‘De Ridder’ is primarily told and

felt through the traditional brewhouse with copper vessels,

which is connected by the ‘peakholes’ in the brasserie. One

can get a tour and be educated on the process of making

beer in the brewery, combined with a tasting of “de Ridder”

beer. The beer can be bought on site in the store that will be

located in the front part of brewery De Ridder. The event

room can be rented for readings, meetings and conferenc-

es, as well as for small sized events or parties. By combin-

ing these programs the site can be seen as a social centre,

therefore the building can enjoy maximum occupancy and

generate profitability.


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SHARON WOUTERS | [email protected] | +32 0472 63 28 93

A LAST PLACE: THE END OF A JOURNEY REUSING FRANS KLOOSTER OF SITTARD TO A PAL-LIATIVE CENTER IN COMBINATION WITH A MUSIC SCHOOL

I try to find out how people in the final stages of their lives

experience the environments they are in and how we can

make these environments more pleasant by using interior

architecture. I research how we can create a place, by us-

ing the right atmosphere, lighting, sound, materials, scent

and colour, that will be used as a last place. ‘Het Frans

Klooster ’ of Sittard, the Netherlands, will serve as a final

place people will see before they pass away, a place where

their final chapter of a journey will begin. I opted for a

building situated in a town surrounded by a park where

people can walk and where during the summer musical

events are held. This liveliness from outside has a positive

influence on the state of mind of the inhabitants in the

building. I want to integrate this liveliness in the building.

That way the building will get, aside from being a last

place, a second function, a music school focused on prac-

ticing classical music instruments. Classical music reduces

stress and fear and calms us. To ensure the privacy of the

future habitants these two concepts will be kept distanced

from each other, but they will at certain points come in

contact with each other. Aside from music, the concept

of ‘remembering’ will also be an important element.

The remembering of a deceased person will literally be

integrated in the design, but the concept of ‘remembering’

will also get a poetic theme. The symbol for remembering

is the rosemary. Since ancient times the rosemary has had

the reputation of improving our memory. The combina-

tion of a last place with music and the theme of remem-

bering is a unique composition that ens ures passing away

will be experienced in a different way. “Death is not the

end. Death can never be the end. Death is the road. Life is

the traveler. The soul is the guide.”- Sri Chinmay, 1971


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LAYER CAKE

Design for human flourishing: the design of 10 public floors within a hybrid living tower for people over 65, targeting flourishing of residents, and attracting visitors and neighbours.

MASTER DESIGN WORKSHOP

1 hybrid living tower:

40 private floors interlarded with 10 public floors

10 groups of master students in interior architecture

10 designs for human flourishing

To start, a social program for each public floor was chosen based on interview data that gave insights in the living environment,

needs, wishes and aspirations for the future of people over 65 years old. A library, a museum and a sports center were examples of

chosen programs.

Students were challenged to design their public program in a way that it was interesting and serviceable for each ‘type’ of elderly

person: an active 65-year-old, a physically challenged 80-year-old, or a 90-year-old with dementia, and at the same time create an

attractive social space for visitors and neighbours.

To enrich the social concept in a way that it supports people over 65 in flourishing, a framework containing the ‘building blocks

of elderly flourishing’ was applied. These building blocks contain information on what kind of human characteristics should be

stimulated and supported to help elderly people flourish. By using the framework as the input in and also the guidance for the

design process, the library became an ‘ex libris’, a place where the owner of each book plays the central part, the museum was

transformed into a place where memories were displayed, and the classic sports center was designed as a sport-o-rama, in which

the experiences of ‘winning’ and ‘scoring’ were integrated. An architectural layer cake for social interaction was the end result.

Ruth Stevens

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MASTER DESIGN WORKSHOP

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A SELECTION OF MASTER ESSAYS

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MASTER JURIES

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MASTER JURIES

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MASTER JURIES

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MASTER JURIES

EXIT15 Interior Design UHasselt

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