The dense city center of Den Haag is a place of constant redevelopments and a need for more multiplicity. The area is populated with inaccessible governmental buildings with fortress-like designs. The proposal reuses the existing National Library and National Archives while connecting to Leiden University Tower. It captures the flow of the city and directs the public inside.

The proposal aims to create and celebrate diversity. By inviting the general public inside the vertical campus, the university gains the new meaning of a marker in a city, a stage. Campus becomes a place for cultural exchange, public gatherings, and extra stage for minorities. Students benefit from improved creativity, innovation, civic engagement, and many others.

The design follows the Space Catalogue to ensure spatial diversity. Different floors, and moments inside them, provide unique experiences and new ways of learning. Various types of stages give students opportunities for social interactions, ranging from intimate to grand atmospheres.

The Second Republic of Poland (1918-1939) was hopeful of rebuilding the nation. The country regained its independence after 123 years and got shaped by newly distributed borders in the Treaty of Riga. Following, 35% of the population identified themselves as ethnic minorities (14% Ukrainians, 10% Jews, 3% Belarusians and 2% Germans). The population worked on developing culture, architecture, and national identity. According to the Small Versailles Treaty (1919) non-poles had to have equal rights and be provided with free access to their own education and religion. The Jewish, living mostly in urban areas (74% of the minority's population), were the only ones to create their own science institutions and higher education facilities. They had literacy rates higher than non-Jews (24% amongst non-Jews were illiterate and only 15% among Jews) and became present in all social classes. In the first decades of the 20th century, it became common that Jewish people from privileged social classes would design tenement houses that they would later profit from or inhibit themselves. However, the representation of their influence on architecture became insignificant with the intensification of their persecutions after the rise of Nazi Germany in the 1930s. This previous heritage, part of Polish cities’ history, has been marginalized ever since. Especially in the newly founded city of Gdynia (located on the North coast) which was experiencing rapid growth, the Interwar period played a crucial role. The city mustered numbers of young architects to practice their profession as it was blooming. As Poland regained its independence and people strived for a rebirth of culture, the new and fast to build modern architecture became favored. Central European Jewish architects played a crucial role in its growth. The research studies various works of the architects with Jewish roots like Władysław Grodzieński (1895-n.d.), Edward Fuhr­schmied (1909-n.d.) and Eliza Unger (1899-1983). Moreover, it examines how working couples (Eliza Unger (1899-1983) and Oswald Eryk Unger (1896-1967)) operated in the architecture profession with their modernistic approach. The analysis methods are the literature review, together with studying the city's archival materials, and conducting site visits. All in all, this research seeks to understand the role that this minority played in the establishment of Polish modernism in Gdynia’s built environment which has been largely overlooked.