“Gangchen-Yul:Village of the Glaciers” is a project that is based in Kulum- a remote high altitude village in Ladakh (North Western Himalayan region in India). Kulum is one of many villages in Ladakh that has borne the brunt of climate change and subsequent abandonment- posing a threat to livelihood and vernacular history. Situated at an altitude of 3800m, Kulum’s history dates back to the silk route era where it was a thriving agrarian community that was supported by the high glaciers. However, through the centuries, due to economic, climatic and geopolitical volatility, Kulum’s sustenance has been increasingly challenged. Glacial depletion and the 2011 floods led to a spike in emigration to cities due to loss of agricultural land. Because of Ladakh’s remote and extreme geographical location, the sustenance of these agrarian communities is critical. This has been increasingly recognized by governing authorities and researches leading to developments such as ice stupas or artificial glaciers which help in restoring agricultural land. While these new developments have incentivized the return of local communities, their built environment remains to be addressed. Therefore, rooted in extensive site study and personal experiences in Ladakh, the thesis aims to propose an urban and architectural rehabilitation strategy for Kulum based on vernacular processes. This is essentially done through restoring the original relationship between living and production by proposing an architectural dialogue between new modes of living and production that continue to emerge in Kulum. ... Read more

The thesis investigates how environmental governance operates through the very practices it seeks to regulate. Grounded in the paradox of extractive preservation, it argues that preservation does not simply protect ecological systems but simultaneously extracts livelihoods, access, and situated forms of knowledge. Focusing on the Danube Delta as a critical zone, the project examines how zoning regimes, permit systems, and remote modes of control reorganize relations between communities and their environment. Within the condition of the natural reserve, it asks what it means to live under continuous preservation and how governance might be rearticulated for those who inhabit and negotiate its limits. In this context, diplomacy is reframed not as an external institutional protocol, but as a situated spatial practice emerging from the tensions between regulation and lived experience.

Informed by Giorgio Agamben’s concept of profanation, the project is structured as a trilogy of inquiry across territorial scales, the wider territory, the village and lake system, and the city. Across these interconnected conditions, it traces how ecological processes, governance frameworks, and everyday practices are deeply entangled, revealing environmental governance as an extractive mechanism that translates lived knowledge into remote systems of control.

At its core, the project seeks to make the local practice of fishing operative in subverting the hegemonic technopolitical mechanisms through which the Delta is understood, negotiated, and managed. In response, it proposes a series of infrastructural “acupunctures” that render local agency legible within the territorial system. Through a simultaneous process of formalisation and informalisation, fishing practices are re-inscribed into governance through the construction of a fishing dock and the adaptive reuse of a former fish canning factory, while environmental data is relocated into the commons of the Delta, opening monitoring processes to collective participation and situated knowledge production.

The project is liminal methaphorically existing at the threshold between needed action and an anticipated vision, but also physically situated between systems of power. Working simultaneously through territory, community and material, the interventions do not merely represent the citizen, the village or the institution. Instead, they position these actors on a shared and horizontal plane, displacing top-down forms of control in favour of governance emerging from below. The highly sophisticated and the deeply analogue, the abstract and the material, are brought into proximity not as opposites, but as coexisting forms of inhabitation and knowledge production. Through this profanation of established hierarchies, the project reclaims agency for those rendered outsiders within their own land.
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My motivation to focus on hospitals is personal. My younger brother, Piet, is nineteen years old and has Cystic Fibrosis. Cystic Fibrosis is a genetic condition that mainly affects the lungs and immune system, making patients particularly vulnerable to infections. Because of this, a hospital is not always experienced as a safe place. It is the place where care is provided, but also a place where exposure to infection can become dangerous.

This contradiction forms the starting point of my graduation project. The contemporary hospital is confronted with a renewed architectural challenge. Many hospital buildings were designed during the antibiotic era, when compactness, efficiency, shared waiting areas, and dense circulation systems became common. However, for patients who are vulnerable to infection, these environments can be problematic.

The main question of the project is: how can architectural design contribute to infection safety and overall well-being for immunocompromised patients within the hospital environment?

The project argues that infection prevention is not only a matter of medical protocols, ventilation systems, or personal protective equipment. It is also shaped by architecture. Routing, thresholds, room organization, outdoor space, material choices, visibility, distance, and atmosphere all influence how patients move, how care is organized, and how safe a hospital can feel.

The design responds by reorganizing the hospital around protection, clean air, and controlled interaction. Separate routes reduce unnecessary contact between patients. Positive pressure rooms create protected interiors. Outdoor circulation provides access to fresh air, while courtyard gardens bring daylight, greenery, and nature-inclusive healing into the care environment.

At the same time, the project avoids turning protection into isolation. Social spaces, outdoor meeting areas, daylight, greenery, and patient autonomy are included as essential parts of the design. The project searches for a balance between control and freedom, between medical safety and human comfort.

Architecture cannot remove medical risk completely, but it can define the spatial conditions in which care, movement, interaction, and protection take place. In this way, infection safety and well-being can support each other rather than compete.
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In a world that is constantly changing, architecture and the building practice are typically rigid and static. The landscape architecture approach inherently copes with dynamics. The notions of palimpsest and process are explored regarding the case studies of river Aire, Marker Wadden and park Frankendael. These principles are translated to architecture, specifically to the transformation of existing buildings. The theory is combined with research on contemporary building practices, such as site-derived architecture, wabi-sabi, adaptive reuse and building for uncertainty. The case of Keileweg 26-28 is used to explore the research findings by design. The half-vacant building has an eventful history and a variety of actors. This results in a building that grounds on the palimpsest, embraces decay and has space for life and unpredictability.
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In the early 1950s almost the entire Jewish community of Baghdad left within a few months. Roughly ninety thousand people, about a quarter of the city, gone. What they left behind was not empty space. It was a built communal environment shaped and refined over centuries: houses, courtyards, schools and synagogues that encoded a way of living attuned to Baghdad’s heat and to the rules of a dense communal life. The community is gone. The architecture, where it survives, still holds the spatial knowledge that produced it, but it has been abandoned, cut off from the use and the spatial logic that once set it in motion.

How can we reactivate this architectural knowledge? To test this, the corpus is read indirectly, through archival drawings, photographs, surviving objects, and interviews with the Baghdadi-Jewish diaspora, and analysed into twenty-two recurring spatial patterns. They work in three fields. Climate, as the relation between the body and its surroundings, set against Baghdad’s hot weather. The threshold, which regulates the distance between the resident and the street, treated as exposed and unclaimed, turning on the question of protection. And gathering, which organises the relation between a person and their community. These patterns are then put to work through interventions in the last building that gave the Jewish community a space of assembly, a kind of urban salon known as the Frank Iny School, with the aim of bringing it back into use.

The patterns are read as principles rather than fixed forms. Read this way, they allow classical means to be used again within a contemporary context, and they open up an inquiry into materials and techniques that lost their place over the years. The building, left in abandonment and neglect, becomes again a place to stay, to make, and to gather. The knowledge studied in these buildings returns to life not as historical reconstruction but as a living principle for present-day residents. The method is offered as a procedure for any architectural corpus that is dispersed, partly destroyed or closed to direct visit. ... Read more

Matter is physical substance.
Material is matter given a role.
Value is assigned by the systems around it.
Architecture is one of the systems through which matter acquires that role.
When does matter become material?
What happens when architecture enters before that role has settled?

This thesis occupies that interval. Value remains contingent, relational and open to negotiation. No substance is inherently waste, resource, evidence or cultural material. These identities emerge through the technical, economic, ecological and social systems that receive it. Architecture participates in the production of value. Space is one of the means through which matter is recognised, organised and brought into public life. This project enters before meaning has been resolved, giving spatial form to the conditions through which value is assigned, contested and transformed.
This argument is situated in Six Bells, a former coal village in South Wales where the value of matter has undergone a profound territorial reversal. Coal organised the valley as an economic, spatial and civic system. When mining ceased, that system collapsed, yet its consequences remained in the ground, in the movement of water and in the ongoing work required to manage what extraction left behind.

Ochre is one of those remains. Separated from coal’s former economy, the residue can enter new practices, acquire new meanings and become part of public life. For a village largely understood through industrial decline, it offers another way for the community to encounter its material history through knowledge, making and exchange. Its economic value remains modest. Its cultural and civic significance lies in how people understand, use and represent what remains.

The same residue can be read as environmental burden, cultural material and ecological substrate. Its value shifts according to the system through which it is encountered. This is the Six Bells paradox.

Architecture mediates between environmental maintenance, material transformation and civic life. It gives public presence to a material afterlife that would otherwise remain concealed, and considers what becomes of that architecture when the process it accommodates eventually changes or ends.
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As space missions become longer and more complex, the psychological impact of isolation and confinement increases, making the support of astronauts’ mental health increasingly important. This thesis investigates how to design an analog habitat that creates a spatial experience supporting psychological well-being.

Analog habitats, Earth-based facilities for isolation training, already prepare astronauts for the confined living and working conditions of future missions. However, in this project, they are also approached as experimental platforms for testing architectural strategies that would be difficult to pursue in space.

Privacy and stimulation are selected as two key challenges because spatial conditions strongly shape them. Design experiments explore how architecture can respond to these challenges.

The thesis shows that architecture can balance practical requirements and psychological effects in isolated and confined spaces, turning these tensions into a supportive spatial experience. Three design proposals explore different design responses to privacy and stimulation, from the overall organization of the habitat to the reinterpretation of basic architectural elements. Across the proposals, textiles emerge as particularly promising for future analog missions and space habitats because they are lightweight, adaptable, and currently underused in space missions.

The next step would be to develop the proposals into full-scale prototypes and evaluate them during inhabited analog missions, using existing isolation environments as a baseline. Such testing would examine whether the design strategies developed through the proposals produce meaningful effects on well-being when inhabited. The findings could contribute to future space habitats, and potentially expand architectural knowledge for Earth-based environments shaped by isolation or confinement. By using the analog habitat as an extreme case, the thesis also informs architectural education by suggesting that the psychological effects of spatial decisions should be considered throughout the design process. ... Read more

Contemporary semi-public spaces – spaces that present themselves as public whilst operating under private logics of investment, regulation, and access – increasingly engineer the body as a consumer. This project examines how the apparatus of control operates spatially in one such space: the Beurstraverse, or Koopgoot, in Rotterdam. Drawing on Michel Foucault's disciplinary society, Gilles Deleuze's control society, ByungChul Han's transparency society, and Roberto Esposito's concept of immunisation, the research develops a theoretical framework through which the spatial techniques of control – surveillance, access regulation, monofunctionality, and the production of a hierarchy of legitimate presence – are identified and analysed. A comparative case study of the Beurstraverse, the Lijnbaan, and the Hoogstraat reveals the Koopgoot as an exaggerated instance of neoliberal urban planning: a space that is itself a deviation from the norms of its context. In response, the project proposes an architectural intervention structured around three spatial strategies: to wander (a park and communal garden replacing the retail surface), to bypass (an elevated walkway offering alternative routes beyond the surveillance apparatus and commercial schedule), and to collide (vertical transitions and furnitures that stage encounters between different bodies, speeds, and intentions). The design does not oppose the existing apparatus; it introduces new instruments alongside it, operating under a different logic of non-profitable productivity. The project argues for designing for deviation – not the production of an alternative, but the production of conditions in which alternatives can emerge.

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This research explores the hauntings of colonization in San Nicolas, Aruba, through a hauntological approach. Once thriving through the oil refinery and now rebranded as the “Sunrise City,” San Nicolas is caught in a temporal disjunction where past, present, and future are entangled. As the refinery will be dismantled—another colonial act of erasure—Aruba attempts to move forward through forgetting rather than confronting what persists.
Situated within an ethico-onto-epistemological framework, this research proposes response-ability as a way of engaging with these hauntings. Rather than erasing the past, it calls for acknowledging and working with the specters—reclaiming marginalized and forgotten (future) memories. In doing so, it aims to understand how hauntology can foster response-ability towards the ongoing injustices of colonization. How do fucus (specters) haunt the material and immaterial flows of disturbed sites? What affects do they produce? How can we reveal and revalue these fucus haunting disturbed sites to produce new modes of ethopoietic co-habitation? How can architecture ground itself into the assemblage of a San Nicolas yet-to-come?
The echoes of the fucus are followed through archival maps, images, and fieldwork photography, observations, and embodied attention. The researcher moves as both witness and participant, attuned to what the site reveals and what it conceals.
Central to this research are the fucus: active, affective forces that haunt both the material and immaterial conditions of the city. They are not metaphors, but expressions of unresolved colonial violence, repressed memories, and unrealized futures that continue to shape the present. These hauntings are explored through the refinery wall as a medium of encounter, approached through three lenses: matter, perception, and limits.
The refinery wall becomes a medium: a site to conjure and encounter the fucus. The wall is explored through three lenses. First, the wall as matter: what shifting materiality, its forces, its memory does. Second, the wall as perception: how it is seen, felt, experienced. Third, the wall as limits: what is erased and how they haunt. Each lens amplifies spectral, temporal, and ethical forces. They produce clues toward response-ability — toward architectures that acknowledge, regenerate, and transform. As witness and participant, the researcher becomes attentive to what the wall reveals, and to what it hides.
Through this encounter, the site informs design logics grounded in the material, social, and affective assemblage of San Nicolas, contributing to an architectural practice attuned to the yet-to-come. ... Read more

This research investigates guilt as an underexplored category in architecture and urbanism. Beginning from a personal confrontation with environmental guilt within architectural education, the project asks how guilt is produced, regulated, displaced, or suspended through spatial design. Rather than treating guilt solely as an individual moral emotion, the study approaches it as a historical, psychological, political, and spatial construct. Drawing on Nietzsche’s genealogy of guilt, histories of Western Christian guilt culture, psychoanalytic accounts of repression and fetishization, and theories of collective guilt, the research argues that guilt operates not only through discourse and institutions but also through the built environment.

The central claim is that architecture and urban planning can function as technologies of guilt regulation. Through scale, visibility, concealment, boundaries, hierarchy, atmosphere, and aesthetic coding, spaces can intensify guilt, direct it toward ritualized forms of atonement, contain it, or temporarily neutralize it. To examine this, the research combines theoretical analysis with case studies of architectural typologies and urban situations, including the church, the prison, the monument, the club, sex-work spaces, green architecture, and ascetic architecture. These cases are read not simply as programs but as affective arrangements that shape moral experience.

A second part of the research focuses on Amsterdam as a city with a persistent mythology of sin, tolerance, pleasure, and transgression. Through experiential observations and narrative accounts of places, events, and everyday encounters, the project investigates how guilt is lived, negotiated, and spatialized in the city. Amsterdam serves here as a testing ground in which issues such as sex work, nightlife, tourism, intoxication, queerness, and public disorder reveal how urban space mediates morally charged behaviour. These situated accounts are used not as autobiography for its own sake, but as a method for tracing how architecture and urban atmospheres participate in the management of guilt in lived experience ... Read more

Post-conflict reconstruction in Yemen has largely focused on rapid housing provision and infrastructural repair, often relying on standardized concrete construction methods that overlook cultural identity, climatic performance, and long-term social sustainability. This project investigates how vernacular architectural principles can be reinterpreted and integrated into contemporary reconstruction processes to create resilient, culturally sensitive, and socially meaningful environments. Through the combined use of theoretical frameworks (such as critical regionalism, resilience, and place attachment theory) and case study analysis of reconstruction efforts in Beirut and Aleppo, the research establishes a foundation for a hybrid design approach that balances tradition with innovation.

The design component of the project translates these findings into a proposal for a girls’ primary school in Sana’a, Yemen. The school is positioned as a form of social infrastructure that extends beyond its educational function, acting as a catalyst for community recovery, economic participation, and collective identity rebuilding. The project responds to Yemen’s educational crisis by creating a safe, accessible, and adaptable learning environment that supports both formal education and informal social interaction.

Architecturally, the project explores the spatial and material dialogue between the familiar and the unfamiliar. Vernacular elements such as courtyards, layered thresholds, climate-responsive openings, and rammed earth construction are combined with modern structural systems, modular timber construction, and flexible programmatic layouts. This hybrid strategy allows the building to maintain cultural continuity while accommodating future growth, climatic resilience, and evolving educational needs.

Special emphasis is placed on “in-between” spaces (shaded circulation paths, courtyards, and outdoor learning areas) which are treated as primary learning environments rather than residual spaces. These transitional zones foster social interaction, collective ownership, and experiential learning, reinforcing the school’s role as a community anchor.

Ultimately, this project demonstrates how post-conflict reconstruction can move beyond purely technical or economic recovery toward a more holistic approach that integrates social, cultural, and environmental values. By positioning architecture as both a spatial and societal mediator, the project proposes a replicable model for educational infrastructure that supports long-term resilience and identity-driven urban regeneration in Sana’a and similar post-conflict contexts.
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Baubotanik – a German term combining ‘build’ and ‘botany’ – is an emerging architectural approach that uses living trees as building material. It integrates architecture, landscape, and structural design to create living structures, raising new questions for contemporary architectural practice.

But what can you actually build with it? What forms can it take? And what are the potentials - and limitations - of designing with a material that grows, adapts, and evolves over time?

These questions form the starting point for The Growing Library. Set in the tropical urban context of Yogyakarta, the project proposes a public library that grows together with a tree, gradually evolving from an urban park into a living architectural structure. Conceived as a place for knowledge exchange, the library extends beyond a conventional building to include outdoor spaces, living systems, and ongoing ecological processes as core parts of its collection.

At the heart of the design is the Ficus benghalensis, whose aerial roots are trained and shaped to form spatial and structural elements. As they thicken over time, the roots intertwine with bamboo to form a hybrid structure, merging living growth and constructed elements into a single evolving architectural system.

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This work is a call for attunement and sensibilization. There cannot be attunement and an enhanced sensibility without an investment of time, energy, and attention. As a response against scientifization, binary distinctions and taxonomies of othering that dominate and reinforce colonial impositions, this research insists on an engagement with complexity, disorder and contamination, understanding space and time as active relational fields that are non-homogenous but dependant on a point of view and a problematic field, and thereby challenging binary dialectics that rely on simple yes or no answers, taxonomies and an essential objectiveness.
Design is a field of operations that concern themselves with the manipulation of limits and constraints. To understand the limit as the manner of relating is to understand it as a methodology. How to relate organism and environment is the gist of technology and design; then the question of the limit becomes, by definition, the question of the method. Rather than a typological approach, this research adopts a topological one, challenging stable typologies such as the prison, the dwelling, the hospital and the laboratory through their iterative modulations across time.
A methodology is not preexisting to the research nor this research output; instead, I allowed myself to switch methodologies, and I encouraged contamination, engaging in a process of complexity that I now understand as not only responding to my motivating concerns but also as an approach to design. I sought to embed myself in complexity as much as possible, taking the experiment as the technique and unpacking these device-machines of measurement to question them as the method for the understanding of our world.
The design project develops as a genealogical design exercise, asking myself what could have happened instead of what did, recognising virtual memory as affectual and multivergencies as compossible and worlding. Set within the Argentinian context, conditions of extreme scarcity are understood not as lack but as productive, collectivising and creative forces, welcoming contingent ideas and problem-creative solutions.
A contaminated methodology, in research and design, is thus not a metaphor but an actual letting go of the obsession with procedure and control to allow the difference to creep in, and, with it, allow new and fascinating encounters.
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The premise of this thesis is not to prescribe what architecture should do, but to explore how it might be thought and experienced. This inquiry focuses on an often overlooked minor art: the rural architecture of the Po Valley, materialized in the cascine – entities that, beyond their dwelling function, preserve the historical memory of a territory.

The concept of assemblage (agencement) developed by Deleuze and Guattari proves remarkably effective in analysing these heterogeneous structures. Far from being a theoretical imposition, this contemporary approach dialogues surprisingly with classical architectural treatises, which already described how different parts should relate to form a coherent body. These two strands of thought, although separated by centuries, converge in a vision of architecture as a system of relationships rather than a static object.

The multiplicities of events that animated the cascine find in Deleuzian thought a revelatory interpretive key, while their spatial organization recalls ancient architectural principles. In these deeply functional principles, a symbiotic relationship with the territory manifests itself, perfectly mirroring the notion of assemblage: not a simple aggregation of parts, but a continuous process of relationships between heterogeneous elements that maintain their identity while forming a coherent whole.

This perspective invites us to reconsider all architecture: are we not all bodies that maintain constant relationships? Every entity is composite, made of elements different in nature and quality that do not simply merge, but coexist in productive tension. What defines these bodies is not a presumed intrinsic unity but the relationships they establish with other bodies, places, and environments. Against the classical ideal of the one, contemporary philosophies propose a complex structure that does not presuppose an a priori unity, but recognizes and values the constitutive multiplicity of every phenomenon.

The thesis will methodically explore the various concepts that compose this vision of architecture as assemblage, tracing their meanings and interconnections. This is not merely a terminological exposition, but an investigation that, in illustrating these concepts, makes them operative – because understanding architecture means, ultimately, entering into a relationship with it. ... Read more

The main aim of this thesis is to investigate the role and relevance that architecture has (and can have) in facilitating the spatial production of festival spaces. It aims to demonstrate that festival spaces serve as ideal locations for experimenting with spatial relationships and architecture itself – through its expression and collective appropriation -which can have transformative effects on spaces of the everyday, guided by the disruptive nature of the festival.

The intention is to construct a designbrief for a permanent festival terrain in which the dialogue between people, place, society, and time can be constantly re-imagined through its fluid architecture—offering fertile ground for discussion on architecture’s role in the facilitation of festival spaces, how they inform the design, use, andorganisation of everyday spaces, and how they stimulate collective design processes.Ultimately, this project seeks
to enact architecture as a facilitator of dialogue, a medium for questioning and reshaping spatial relationships through the lens of festival spaces. ... Read more

The Local Taste introduces a slow cooking project: a productive garden and cooking residency. It explores how locally grown food and the act of gardening hold the power to reconnect humans with their ecosystems. Set on a small German farm, the design brings together the disciplines of gardening and cooking, blurring the line between architecture and landscape. Rooted in the local soil, bricks fired on-site become the main design element—framing beds, retaining slopes, and forming a greenhouse, kitchen, and infrastructure for compost and water. These cycles, along with the human workflow, guide the redesign of the farm and the shaping of the garden. The brick becomes the link between old and new, house and landscape, cultivation and care. A curated experience that invites for reconnection through growing, processing, and tasting locally grown food. ... Read more

Inspired by the notion that people frame their lives and experiences through stories (Sartre 1938), this thesis explores the role of narrative in architectural design, proposing that architecture is not merely a physical space but an intricate interplay of tangible and intangible elements shaping human experiences within the built environment (Pérez-Gómez 2016).
Moreover, the research explores how literature can inform architectural design, emphasizing the importance of atmosphere and embodied experiences (Pallasmaa 2005; Zumthor 2006). It addresses key questions about translating narratives into functional design and extends the concept of narrative-driven architecture beyond temporary installations to permanent contexts.
Through theoretical research, case studies, literature analysis, and personal narrative surveys, the study identified the location of the project as well as the design principles and strategies that integrate narrative, atmosphere, and embodied experience into architecture.
The culmination lies in an architectural design with a focus on creating spaces and atmospheres that translate fictional literary experiences, emotions, and journeys into tangible form. Ultimately, the fictional narrative aspires to create spaces that are both emotionally resonant and functionally purposeful.
This results in a design of Casa Habitoria - a living habitat that is a unique meeting point of personal stories and communal experiences. ... Read more

Grounded on the work of French psycho-analyst and activist Félix Guattari (1930-1992) and his attention to the practice of architecture, the seeds of curiosity of this research were planted in questioning the value ecosophical and ethico-aesthetic practices could have in relation to architecture and what it could mean to trade the position of the Dutch/European architect under today’s conditions. Through a neo-materialistic and posthumanistic framework, these curiosities have grown into chaosmic flowers by means of linking-together (mapping) trans-disciplinary under-standings on how to trans-form the mentality under-lying the etho-political grounds an architect acts-with and how to train an eco-logical response-ability towards heterogeneous worldings; different styles of living and dying: the under-ground(ing) riddles of relational architectural existence. This research resulted in a reseach-design tool and a project surrounding the collective milieu of Maashaven, Rotterdam (NLD) where the small design interventions attempt to empower new activities and positive ecological relations. ... Read more

Due to the practicality and inexpensive nature of synthetics, large quantities of wool are going to waste. One practical application to avoid such waste could be in architecture, as wool has been established as a durable material that offers protection against the elements. However, most uses of wool in Dutch architecture are especially limited to interior decoration or small use of hidden insulation. This research will analyze how wool could be used as an architectural material by looking at the aesthetic value of wool as a product in the different shearing layers of change in a building as proposed by Brand. By using the experiment-by-design method, it will attempt to measure aesthetic experience through surveys. The resulting prototypes will be used to show how wool can be useful in architecture according to its aesthetic value. ... Read more