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A.M. Nozza
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The Help Network
An architectural approach to arrival
The contemporary city is increasingly shaped by processes of mobility, migration, and displacement, yet the architectural dimension of arrival often remains overlooked. Situated in Heyvaert, one of Brussels’ most culturally diverse and socially complex neighbourhoods, this project investigates how architecture can support processes of arrival without imposing external solutions upon existing urban conditions.
The research begins with a critical reading of Heyvaert as an entanglement of cultures, economies, and spatial practices. Rather than approaching the neighbourhood through conventional top-down models of urban renewal, the project proposes a methodology based on listening, observation, and contextual engagement. This position is articulated through The Help Network: Nine Points for Structuring Arrival, a manifesto that frames architecture as a process of positioning rather than prescription.
The resulting proposal combines housing, public services, and collective spaces within a former industrial block. Existing buildings are selectively reused and reconfigured, while new interventions introduce temporary and long-term housing, a training centre, employment and rental agencies, a daycare facility, and shared public spaces. These programs are organised around an internal courtyard connected to the future Kleine Zennepark, transforming a previously enclosed condition into a new node of social and spatial exchange.
Rather than functioning as an isolated architectural object, The Help Network acts as a framework for strengthening existing neighbourhood relationships, demonstrating how architecture can facilitate belonging through support, interconnection, and adaptation. ...
The research begins with a critical reading of Heyvaert as an entanglement of cultures, economies, and spatial practices. Rather than approaching the neighbourhood through conventional top-down models of urban renewal, the project proposes a methodology based on listening, observation, and contextual engagement. This position is articulated through The Help Network: Nine Points for Structuring Arrival, a manifesto that frames architecture as a process of positioning rather than prescription.
The resulting proposal combines housing, public services, and collective spaces within a former industrial block. Existing buildings are selectively reused and reconfigured, while new interventions introduce temporary and long-term housing, a training centre, employment and rental agencies, a daycare facility, and shared public spaces. These programs are organised around an internal courtyard connected to the future Kleine Zennepark, transforming a previously enclosed condition into a new node of social and spatial exchange.
Rather than functioning as an isolated architectural object, The Help Network acts as a framework for strengthening existing neighbourhood relationships, demonstrating how architecture can facilitate belonging through support, interconnection, and adaptation. ...
The contemporary city is increasingly shaped by processes of mobility, migration, and displacement, yet the architectural dimension of arrival often remains overlooked. Situated in Heyvaert, one of Brussels’ most culturally diverse and socially complex neighbourhoods, this project investigates how architecture can support processes of arrival without imposing external solutions upon existing urban conditions.
The research begins with a critical reading of Heyvaert as an entanglement of cultures, economies, and spatial practices. Rather than approaching the neighbourhood through conventional top-down models of urban renewal, the project proposes a methodology based on listening, observation, and contextual engagement. This position is articulated through The Help Network: Nine Points for Structuring Arrival, a manifesto that frames architecture as a process of positioning rather than prescription.
The resulting proposal combines housing, public services, and collective spaces within a former industrial block. Existing buildings are selectively reused and reconfigured, while new interventions introduce temporary and long-term housing, a training centre, employment and rental agencies, a daycare facility, and shared public spaces. These programs are organised around an internal courtyard connected to the future Kleine Zennepark, transforming a previously enclosed condition into a new node of social and spatial exchange.
Rather than functioning as an isolated architectural object, The Help Network acts as a framework for strengthening existing neighbourhood relationships, demonstrating how architecture can facilitate belonging through support, interconnection, and adaptation.
The research begins with a critical reading of Heyvaert as an entanglement of cultures, economies, and spatial practices. Rather than approaching the neighbourhood through conventional top-down models of urban renewal, the project proposes a methodology based on listening, observation, and contextual engagement. This position is articulated through The Help Network: Nine Points for Structuring Arrival, a manifesto that frames architecture as a process of positioning rather than prescription.
The resulting proposal combines housing, public services, and collective spaces within a former industrial block. Existing buildings are selectively reused and reconfigured, while new interventions introduce temporary and long-term housing, a training centre, employment and rental agencies, a daycare facility, and shared public spaces. These programs are organised around an internal courtyard connected to the future Kleine Zennepark, transforming a previously enclosed condition into a new node of social and spatial exchange.
Rather than functioning as an isolated architectural object, The Help Network acts as a framework for strengthening existing neighbourhood relationships, demonstrating how architecture can facilitate belonging through support, interconnection, and adaptation.
This study examines the dual role of Tropical Modernism in colonial and postcolonial Ghana through Jane Drew and Maxwell Fry’s 1951 Accra Community Centre. Constructed in response to the 1948 anti-colonial riots, the Centre embodied Britain’s strategy to reassert control via architectural interventions. Blending modernist functionality with climate-responsive design, its spatial hierarchy camouflaged colonial dominance under the guise of civic progress. Archival plans and colonial records reveal how the Centre’s layout enforced social divisions, marginalising local agency while projecting Eurocentric modernity. Post-independence, Kwame Nkrumah’s government repurposed the site as the Young Pioneer Centre, transforming its colonial infrastructure into a tool for nationalist ideology. This duality underscores Tropical Modernism’s entanglement with power: initially a vehicle for imperial control, later adapted to assert African sovereignty. Drawing on critiques by scholars like Iain Jackson and Ola Uduku, the paper positions the Centre as a battleground for political ideologies, where architecture mediated colonial governance and postcolonial nation-building. By analysing its design, socio-political context, and legacy, the study illuminates how built environments function as instruments of social engineering, shaping identities and hierarchies across regimes. The findings contribute to broader discourses on colonial architecture’s enduring impact on urban landscapes and cultural negotiation in the Global South.
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This study examines the dual role of Tropical Modernism in colonial and postcolonial Ghana through Jane Drew and Maxwell Fry’s 1951 Accra Community Centre. Constructed in response to the 1948 anti-colonial riots, the Centre embodied Britain’s strategy to reassert control via architectural interventions. Blending modernist functionality with climate-responsive design, its spatial hierarchy camouflaged colonial dominance under the guise of civic progress. Archival plans and colonial records reveal how the Centre’s layout enforced social divisions, marginalising local agency while projecting Eurocentric modernity. Post-independence, Kwame Nkrumah’s government repurposed the site as the Young Pioneer Centre, transforming its colonial infrastructure into a tool for nationalist ideology. This duality underscores Tropical Modernism’s entanglement with power: initially a vehicle for imperial control, later adapted to assert African sovereignty. Drawing on critiques by scholars like Iain Jackson and Ola Uduku, the paper positions the Centre as a battleground for political ideologies, where architecture mediated colonial governance and postcolonial nation-building. By analysing its design, socio-political context, and legacy, the study illuminates how built environments function as instruments of social engineering, shaping identities and hierarchies across regimes. The findings contribute to broader discourses on colonial architecture’s enduring impact on urban landscapes and cultural negotiation in the Global South.