Engagement with the city in provincial Russia is currently lacking a framework of care for the historical urban fabric. Listed buildings decay with no revitalisation plans made by the municipality or the citizenry. On the other hand, theatre in modern-day Russia is an acknowledged political entity – a pocket of free(er) thinking and civil engagement. This research studies the historical trends in theatre to define the spatial qualities of audience engagement. The goal is to harness such qualities and apply them to a dilapidated building in Rostov-on-Don, reconnecting it with the city and the citizens, and hopefully begin a revival process all over the historic city centre.

The Netherlands is facing a housing shortage and adequate housing provision is lacking. Citizens are eager to act on their own through bottom-up initiatives. However, bottom-up initiatives (such as cooperative housing) do not thrive within the current housing market and therefore significant development of cooperative housing in the Netherlands stays off. This research aims to support the development of cooperative housing in the Netherlands. This is being achieved through constructing an alternative reality of the housing market through composing a play script. The script is being informed by interviews, literature review and analysing case study projects. The interviews were conducted among the present stakeholders (the academic, the advocate, the architect, the bank, the cooperative, the developer, the dweller, the municipality). All together, the research hopes to transfer these thoughts and findings on cooperative housing to continue this collective process.

1.7 Earths currently, 3 in the next decade.
That is the worth of resources that we are using yearly, and the estimated doubling of it,
by the end of the following decade. Two-thirds out of all those extracted resources end up as waste.
It’s kind of ironic and paradoxical that we go to all that trouble to obtain these valuable resources and materials, design them, form them to become something, just to become nothing, worthless, waste, by a simple toss into the garbage bin.
But one can be wasteful only in abundance - this abundance, however, breeds a carelessness towards consumption, accumulation, and ultimately, destruction.
This is an exploratory (design) thesis that delves into how to reevaluate waste conceptualization, and what would be needed for a collective to do so. How to create a space where the Ethos of Care and Repair becomes (one of) the method(s) of this reconceptualization, and rethinking relationship with waste.

This is a story about an archive that could sit in the heart of Appingedam, Groningen, commemorating two diasporic cultures which, against all the odds, found refuge in this quiet, mediaeval city.

The first Ashkenazi Jewish population saw its birth in Appingedam, Groningen in the early 17th century. Despite centuries of difficulties the community flourished in this small rural city for centuries until it was all but eliminated in the 1940s, starting with their forceful eviction to the Dutch concentration/transit camp Westerbork. My grandmother is the last survivor of this community.

After the war, Kamp Westerbork - renamed Schattenberg - saw the arrival of a new community, the Moluccans. Intended to be a temporary stay whilst the Dutch negotiated their independence as a state from Indonesia, the years saw little progress as it became evident that this temporary stay was quickly becoming permanent. In 1960 it was proclaimed that the Moluccan community would be rehoused permanently across the province of Groningen, with the first city of permanent dwelling being Appingedam. A city which can be walked across in 25 minutes now bore witness to the birth of two significant communities within the Netherlands, centuries apart. Although there could never have been any crossover (one community terminated prior to the other starting) this is the story of how to analyse the intrinsically spiritual connections between two vastly different communities, and how a new syncretic direction for commemoration - one the focuses on the power of a multiplicity of memory rather than the privacy and exclusivity of a single collective remembrance - can be brought forward.

Moving Atmospheres explores the intricate relationship between spatial design and human experience, advocating for an embodied approach to architectural practice. Through a phenomenological lens and experimental approach using personal experiences, the study investigates the nexus of emotion, movement, and spatial perception. Utilizing intuitive movement, exemplified by the practice of improvisational dance, the research aims to uncover insights into the creation of atmospheres within architectural settings. Methodologically, the study employs a structured approach termed the Movement Lab, involving five steps how one could observe, document, translate, interpret, analyse and reflect on the relation between spatial atmospheres and its effect on the body through emotion and behaviour, in this case studied through a zoom onto intuitive movement. In this process, architectural research is conducted using filmmaking, photography and (poetic) writing, conveying the relation between body and space.

Analysis of data collected from diverse environments reveals how spatial qualities shape emotional responses and bodily movements. The findings of this study underscore the complex interplay between spatial atmospheres, emotion, and movement characteristics, highlighting the potential of intuitive movement as a tool for architects to understand and manipulate architectural atmospheres, facilitating the design of immersive and emotionally resonant spaces. By emphasizing the importance of bodily experience in architectural design, the study advocates for a paradigm shift towards more responsive built environments.

Overall, this research contributes valuable insights into the embodied dimensions of architectural practice, encouraging architects to engage with the human body as a central tool for creating meaningful spatial experiences.

Modern cities are often characterized by their fast paced environments and levels of sensory overload. Consequently, these environments often pressure individuals and can create feelings of (emotional) detachment. These feelings of detachment call for interventions that enable people to connect to the full scale of their emotions and reconnect to their surroundings. Art and architecture have the potential to offer environments and encounters that can stimulate this (re)connection. Therefore, this research investigates the architectural principles and embodied visitor experiences of objects in (semi-)public spaces.

An overview of design principles and accompanied visitor experiences is created. The main types of experiences that have been identified are: contemplation, experiment/play, movement, surprise/wonder, and (unexpected) social interaction. Useful architectural tools to achieve these experiences entail, among others, the use of material, play with light, the relation (or disconnection) to place and its history, shape, sound, and perspective. Lastly, it is important to note that experience is rather subjective, even though these architectural principles can guide the experience. Therefore, urban planners and designers are encouraged to thoroughly investigate the case specific context to determine the most fit design.

These findings have been used to create three interventions following Kostverlorenvaart, a body of water located in the city of Amsterdam. By using the history of place as an additional guiding theme and incorporating a flexible structure that can be adapted to temporary needs, three pavilions have been created to help (re)connect city inhabitants to their direct surroundings. The project outlines a blueprint for urban interventions that can be implented in other cities to help counterbalance these fast paced environments.

Soil extraction results in different material qualities. Some products, like coal, are affiliated with industry and pollution. Others, such as marble, equal to perpetual wealth and aesthetic. In the region of West Macedonia, in the North of Greece, those qualities coexist in the form of mines and quarries, creating a material network. With starting point the difference between marble and coal, the research investigates extraction practices as a multilevel topic, an ever-growing field where artificial and natural landscape blends. In the possibility of extraction sites closure, questions emerges in regards for the impact in city, environment and humanity sites towards a future transition. Those sites wound create a new archaeology, signs of an era of Anthropocene and a wounded nature.

Hence research circulates around three themes. First it examines the Hinterlands as a system of operations carrying industrial production, following by the sites of extraction and the narratives around them, in pursuit of the spirit of place. The third aspect is a cognitive examination of the human position into those practices. A placement of human through craft proposes a rethinking of materiality and nature as active agents. This affiliation with non-human entities underlines a transition of culture into a caring state, creating an ecosystem sympathy. Goal is to find answers about the recovery of post-mining territories, the revival of this inert anthropogenic environment.

Currently people with physical disabilities do not have the option to be away from home for a short or longer period of time to relieve themselves from the medical situation at home. This creates a feeling that there is currently a building typology missing in society and forms a challenge to be further investigated. The objective is to gather knowledge about how physically disabled adults experience a place and in what way an architectural design can influence this in a positive way.
The focus for this research is on the physically disabled adults who live at home, are dependent on a wheelchair and daily care. The following main research question has been formulated to answer the problem statement above: “In what ways can architecture overcome the limitations that adults with physical disabilities face in daily life?” To be able to answer the main research question literature research was carried out and interviews were conducted among 5 participants. Two physically disabled, one informal caretaker and two medical professionals. All these participants are representative for both the interview as well as physically disabled adults in the home situation. The interview responses showed that there are 4 main important themes: spatial, social, independence and healthcare. This indicates that these themes are important for all participants. To conclude, the current built environment is missing an accessible building typology, a place that provides care without feeling so for both physically disabled adults as for able bodied people to spend time away from home.
Based on this my advice for follow-up research would be how to create awareness among architects about the life of physically disabled adults and how they can design for them?

The Master's thesis "A Spatial Dialogue in the emerging city of Addis Ababa" explores the intricate dynamics between formal and informal housing in Addis Ababa, Ethiopia. Authored by a German-Ethiopian architectural designer, the thesis critically examines the oversimplified categorization of traditional "sefer" settlements and modern condominiums, shedding light on their impact on social, economic, and cultural aspects.

Through the combination of architectural and ethnographic research methods, the study uncovers the unique cultural nuances and spatial needs of Ethiopian dwellers. It challenges stereotypes associated with informal settlements, revealing unexpected similarities in how residents creatively appropriate their homes, irrespective of architectural differences. The subsequent design proposal for a housing complex in Yeka Abado integrates formal and informal elements, emphasizing flexibility, communal spaces, and income-generating opportunities.

The thesis advocates for a holistic, inclusive approach in architecture, emphasizing the importance of incorporating cultural heritage and community engagement. The design project serves as a conceptual exploration rooted in extensive research, aiming to bridge the gap between modern design concepts and traditional practices for inclusive and culturally responsive housing solutions.

The starting point for this graduation project was a fascination with how architects can design for people who live at the margins of society, people that are invisible to many. The research was an investigation into places of belonging of displaced people in the Netherlands. In this case, the term displaced people was used for refugees, asylum seekers, status holders, etc. During the project's research phase, eight places of residence for displaced people were researched using ethnographical research methods like fieldwork and semi-structured interviews. During the research, I was confronted with how these spaces of residence were designed; it is not easy to get a feeling of belonging in them. The following four conclusions are things that do help people in the sense of belonging to a place; 'Accessibility and Predictability', being able to 'Share Culture and Background', 'Being in Control' and 'Privacy and Intimate spaces'.

These four points were used to create a design for a place of residence and culture centre for status holders in Utrecht. The design is located in 'het Wolvenplein', a former prison in the city centre of Utrecht. The design shows that if you can open a former prison and create a place of home there, it should be possible to create a good place to live for displaced people in any building. The design proposes a paradigm shift in how we design for displaced people.

The Rhythmic escape propose a retreat in Rotterdam based on environmental features in nature that is of significance in rituals held in nature by people living with nature.

The realm of architectural design and conceptualization, despite witnessing advancements in design complexity facilitated by technological tools and fabrication techniques, appears to have experienced limited transformative change over time in the way we begin our design process. But is there an alternative way to look at architecture ? Perhaps a completely different way to begin a project ? Can the age of data abundance cause a shift in the way we look at architectural design ?

Boden – a German term that can refer to soil and land, ground and floor, territory and habitat. Overhearing Boden in Berlin’s streets these days will, however, oftentimes result in tuning into a conversation about land ownership, the soaring cost of living and the city in transition. People, it seems, are worried. They are increasingly affected by effects of market processes, speculation, a marginalising financial approach* towards the city. They are not alone: Also Berlin's diverse ecological actors are threatened by such profit-oriented practices. Therefore, the term “Boden“ in Berlin has been conceptualised for discussing processes originating in and revolving around land tenure. In turn, its tangible qualities and positive notions are covered up, buried by a merely technical and somewhat pessimistic discussion. The inherent ambivalence is leaving Berlin’s Boden, stripping it off its multiple social and ecological facets: Boden has become a bare quantifiable medium.
This overheard finding is the spark of this thesis. While unsuccessfully searching for a singular translation of Boden, I started to discover more and more dimensions, relations, associations with the term. Thus, the question arose: Can we solve the multi-dimensional issues Boden faces in Berlin by exploring its stratified character, its layers of meaning? How can Boden in the city become tangible, meaningful, a resource - Bodenschatz - again? Can Boden itself become an ally for the city’s human and non-human inhabitants to solve the Bodenfrage issues?
The resulting proposal, Bodenschatz, is a multi-layered exploration of dimensions comprised in Berlin’s Boden. This is approached by science fiction: taking into account the status quo of science and research, it is reimagining urban futures as a fictional prototype of cyber-socio-ecological cohabitation on Berlin’s Boden. Its main vector is not analysis but action towards re-taking socio-ecological urban agency in Berlin. Architecture becomes a vehicle to spatialise this, the missing link to fill in the gaps between science and fiction. Without romanticism or fatalism, the project is a comment on the current state of affairs - and how the city of the future could be imagined by the means of today.

Namibia has been home to some of the world’s oldest ethnic groups since the dawn of civilization. One of these cultures is the Himba, often referred to as ‘the last true pastoral nomads’ of Africa. They are known for inhabiting the water scarce desert region of Kunene in Namibia for centuries. Now, various factors, including climate change and the absence of governmental support, are forcing the Himba population to decide which aspects of ‘modern’ culture to incorporate into their everyday lives.

After decades of declining rainfall and rising temperatures, drought and omakururukiro yokuti (over-utilized land and vegetation) are the reality. The Himba is therefore forced to rely on their nomadic origins for survival, and to travel southwards, ‘following the water’, to Windhoek which is the capital of Namibia. On arrival, they are confronted with inequality apparent in the African urban built environment and take part in the rapid urbanization of Windhoek. They settle in townships, in shacks, located on the outskirts of the city, where access to water and sanitation is limited. Due to landscape topology, climate change and other factors, the high possibility of flooding poses a new risk. Indeed a life-threatening choice: surviving drought in Kunene or surviving floods in Windhoek.

​Europe Central Station is a new kind of station in the global railway network, airming to replace air travel with a more environmentally sustainable option. This thesis conducted research on the essential requirements for designing an intercontinental train station, anticipating a future where train travel becomes the standard mode of transportation. As a result, new programs such as border security measures and well-designed arrival and departure halls were implemented. In addition, it illustrates how such a large train station can be strategically positioned within the city of Berlin, serving as a catalyst for future urban development. It also shows how such a large train station can be designed, providing an efficient, safe, and comfortable travel experience for the passengers.

This graduation project explores the topic of flexible working as a new work norm for architects (and designers) and how FW needs to be translated into an office design. Through the analysis of two case studies, the current situation has been mapped out, which has been used to determine the requirements for an office programme that can facilitate flexible working. In order to allow flexible working, one must apply activity-based workplace design as a design method, in which one designs based on activities, rather than functions. The graduation project explains the translation of flexible working as the new work norm into a design proposal.

How can the national library best accommodate the collection and curation of
knowledge to encourage learning in an age of digitalisation?
During the graduation studio Complex Projects the role of the national library in
Germany was put under investigation. The national library functions as a central place where all published work of the nation is collected. How does the library position themselves to stay relevant for information that can be curated for it to be easily accessible. The use of the building will need to be revised to continue serving its users and engage a new generation and audience. Currently the collection is stored in multiple cities in Germany, which defeats the goal of the national library to centralise the collection. As the collection continued to grow it resulted in buildings with multiple extensions and not optimal storage conditions. The design of the national library emphasises the representation of all media such as books as well as online publications, providing a welcoming space for the public, organising events and encouraging learning.

The Bananeira Garden (Horta da Bananeira) is a guerrilla garden in the escarpments of Porto that has collectively been created by a group of people with no claim of ownership or fixed identity. These gardeners explicitly refuse to recognize the state’s authority over the forgotten urban spaces in the city. Gardening turns into a political act, a quiet but constant form of spatial activism addressing climate change, social inequality, and real estate speculation. Porto’s administration is solely focused on expanding the city’s brand as a tourist destination, with tourist accommodations and rising prices forcing the local population to the margins. This could have consequences for the Horta da Bananeira, as it does not have any legal protection.

This project is an attempt to support the Horta da Bananeira in its struggle for emancipation. ‘Garden as Protest’ acknowledges the garden’s complexity and its value beyond the garden’s borders. A network of acupunctures makes sure that the border conditions of the garden are secured, fulfilling their social purpose and catering to the actual needs of the neighbourhood.
The project follows an eco-feminist approach, demonstrating a new role for the architect.

As our society has entered the age of the digital, several problems have risen from the unprecedented amount of information circulation. While indeed the benefits of this instant access to information and data cannot be overstated, one cannot ignore problems such as misinformation. With that in mind, comes the problem of how could architecture deal with a society that is ever more dependent on the immaterial world provided by the digital in the context of politics.
This is where the parliament as a building typology factors in. It represents the intersection between political institutions (and by extension the societies they serve) and architecture. As such, the graduation project aims to explore how a parliament would look like in the context of an information society.
In short, the proposed answer of the project is injecting a higher degree of publicness to the parliament typology as stressing the physicality of such a political institution is ever more important. By trying to be more inviting to the public and more hones and transparent in regards to how its institution operates, the architecture of the New European Parliament emphasizes why actively engaging the public is crucial in an information society.

Kan je architectuur vermenselijken door een gevoel tot ontwerpopgave te maken? Dit is de vraag waarmee ik mijn afstudeerproject startte. Thuis is een begrip dat veel wordt gebruikt en wat sterk gekoppeld is aan de architectonische typologie huis. Zijn deze echter onlosmakelijk met elkaar verbonden en wanneer voel je je thuis? Door middel van film ben ik thuis vanuit een menselijk perspectief gaan onderzoeken. ‘Mijn Afrikaanderwijk’ is de eerste onderzoeksfilm en bevraagt de verhouding van mens en buurt als deze dreigt te veranderen door gentrificatie. De tweede en derde onderzoeksfilm, samengevoegd in de film ’t huis’, analyseren of het begrip hiervan veranderd als je daadwerkelijk je huis hebt moeten verlaten aan de hand van de ervaringen van mensen met een migratieachtergrond. Uit het onderzoek bleek dat de thema’s toe-eigening, ontmoeting en belichaming sterk verbonden zijn met het thuisgevoel. Deze begrippen zijn zo generiek en de individuele invulling hiervan zo specifiek dat ze niet op de volledige groep van mensen met een migratieachtergrond van toepassing zijn of dat ik mijzelf en mijn omgeving in Amsterdam ook kon herkennen in hun zoektocht naar thuis als je huis dit niet is. Met mijn afstudeerproject wil ik het belang van permanente plekken in de stad benadrukken die onafhankelijk van inkomen, weer of tijd toegankelijk zijn. In de laatste film komen daarom de mensen met een migratieachtergrond samen met mensen in mijn directe omgeving in het gebruik van een specifiek ontwerp voor een ankerpunt in Amsterdam. Een ankerpunt is een intieme publieke buitenruimte met binnenruimte die georiënteerd is op de elementen. Door verloederde en vrijkomende kavels als zodanig te transformeren, kan een netwerk van ankerpunten in de stad worden gecreëerd.