Light touches, but is untouchable itself. While being airy and ethereal, light is grounded in architecture: it plays a fundamental role in the experience of touching and tender spaces. However, catching light in terms of contrast, light diagrams and simulations models doesn’t reach the
complexity of light, the moment when light touches us. Truly understanding daylight is a matter of grasping light in its subtle, fleeting, ephemeral experiential reality. Therefore this project is a search for sensitivity to light, in particular Dutch coastal light. It does so by asking the question:
- How is light a material?

Materialization of light was researched in different ways. Firstly, using philosophy. Secondly, using artistic references. Thirdly, by making photos of light and form experiments at the Dutch coast. The architectural design project functioned as the last entry into the search for sensitivity to Dutch light, this time through the eyes of the architect specifically. The choice of location based on presence of Dutch light: Vluchthaven at Neeltje Jans, a peripheral place which radiates light and where big natural forces interfere with huge human interventions.

The research showed how light is able to both make people turn inwards, towards their own internal world, and outwards, towards the external world. The changing between those processes is admirable because it creates a sensitivity for what is outside, while at the same time it addresses imagination for potential change of reality. Light makes people see. Therefore, the design project worked with light to make experiences of introversion and extraversion, in the Dutch light. Four ateliers were designed, which address light in different manners, and one dwelling for an artist in residence, the caretaker of the ateliers. Visitors experience the light at the place, to see the place even better.

By defining, describing, and contextualising light, the project materialized light. But overly describing how light is situated, kills light vibrancy. Therefore, to use light as a material it is also important to admit its volatile character, by not catching it. It is within the associative, the intuitive, the imaginative where light is able to move. The method of artistic research, including the act of experiencing light, gave space to both processes to be able to materialize light: making light explicit and leaving light implicit.

The Stockholm City Library was designed by the renowned Swedish architect Erik Gunnar Asplund in 1928. Since then, the role of public libraries has changed dramatically. Nowadays, public libraries constitute important social infrastructure within cities; they should provide a wide range of program for all needs and demands and enhance interaction among people. This project is about the transformation and expansion of the Stockholm City Library, in an attempt to open up the library to a broader public and address its various today’s and future needs.

The Graduation Project is facing the challenge of extension to the historical building of Stockholm City Library. Its main goal was to provide an architectural answer to the political, economic and cultural problems which the institution of public libraries in Stockholm is facing nowadays.

My proposal refers back to the original plan for the site proposed by Erik Gunnar Asplund in 1928 and completing it with the 4th building. Thanks to that I managed to densify and fill the already-used part of the plot with subsequent educational functions. The building is connected to the main library underground which allows to preservation of its monumentality and independent character in the city. In the proposed extension I focus on the functions which can not be placed in the historical building due to its spatial limitation. The new building is a contemporary library incorporating a variety of interactions and ways of sharing knowledge. The structural layout allows for a flexible adaptation and at the same time provides different spatial qualities.

This graduation project explores the feasibility of renewing the competition for the Asplund Library in Stockholm. The competition and assignment focus on a possible extension. A renewed proposal will have to determine if the original intended program still reflects the needs of a contemporary library. Furthermore, this proposal seriously questions whether the established strategies of working with heritage still hold up in a world that must deal with limits to growth.

The proposal suggests that by looking beyond the strategies of adding to and contrasting with existing architecture, the brief can be answered in a much more modest way.

The project deals with extending a monumental building - the Stockholm City Library. It's complexity lies within the position of respect towards the monument which the library is and the work of the architect behind it - Erik Gunnar Asplund. This project proposes to extend as a mean of modernising and coming forward to the needs of growing and changing city.

The construction industry is a major contributor to climate change. To create sustainable and resilient architecture longevity should play a major role, as the initial embodied carbon can be used for longer. Furthermore, the lifespan of Dutch dwellings needs to be extended to counteract the low annual net addition of new buildings and the housing shortage.
To address these problems this multi functional design (housing + education) on TU Delft campus rethinks the typical timescales of architecture and aims to provide a sustainable alternative to construction methods with a low initial carbon footprint such as timber construction.
The combination of an „ever-lasting“ concrete structure that merges with the site, and can be seen as new land, with temporal building elements guarantees that the building is able to adapt to new functions and requirements over its long service life. The site, which is currently used as a parking lot, can be actively used as part of the campus where living, teaching, nature and leisure meet.

This paper aims to present and assess the prospective environmental feasibility and efficacy associated with the integration of Direct Air Capture (DAC) technology into diverse design methodologies within contemporary architecture. The primary focus of adjusting the flow of the chemical process through various design parameters will be elucidated for the hypothetical application into buildings. This chemical process involves the scientific method of utilizing the hollow-tube fibers with potassium hydroxide (KOH) as the primary carbon absorbent, where the CO2 contained ambient air is absorbed in fibers and converts into liquid state of K2CO3 + H2O. This carbon dioxide will be captured and transported through building services, for the future utilization and storage. This research highlights that the chemical flow of the DAC process can be effectively implemented through three distinct architectural design factors: façade modules, and an add-on mechanism for existing buildings and infrastructure. Despite the early introduction of DAC in 1999, its current status remains at the research level and cost demanding, yet to progress beyond industrial applications. However, the paper argues that when broadly applied in buildings powered by renewable energy sources, DAC integration has the potential to mitigate the escalating CO2 contamination, through ensuring buildings to capture more carbon than they emit, mimicking the principles of photosynthesis from the nature. Thus, the research prioritizes in opening a vision for new concept of sustainable architecture, directly responding towards the global climate issues, and acts as a first stepping stone beyond carbon reduction, towards carbon-capturing architecture.

As the housing shortage in the Netherlands increases, students have a harder time finding living spaces. On top of that, there has been an increase in psychological issues and feelings of loneliness among students. This loneliness can be exacerbated by the focus on building large studio apartment complexes without collective spaces. The proposed solution for both these problems is community housing (co-housing). In this paper we are going to research if co-housing can indeed decrease loneliness among students while intensifying the use of space and we will research the willingness of students to share their space. A boardgame was developed to establish TU Delft students’ attitudes towards co-housing, offering insights to inform the design of future housing compositions. The main question in this research was: How can the spatial, social, and emotional preferences of TU Delft students be systematically mapped to inform design decisions related to their loggings? The literature review on co-housing showed that co-housing can reduce the spatial need per individual and provides strong possibilities for social and emotional bonds which could reduce loneliness. Data gathered from the boardgame revealed that the majority (68.4%) of TU Delft students are willing to pursue co-housing principles to achieve a reduction in rent and climate impact. This makes co-housing a potential typology for student housing to intensify the use of space and create a possibility to reduce loneliness.

The Museum of Contemporary Art Antwerp (M HKA), is in search of a new building. Influenced by the anti-museum philosophy of the ICC, M HKA aspires to integrate itself into a network of regional museums while concurrently positioning itself within a broader global context. The institution has identified a promising site within a suburban neighbourhood in Antwerp, strategically positioned between the Scheldt quays and the city park, the site commands a central and strategic position, seamlessly connecting two crucial urban spaces.

Recognizing the global trend towards the increased need for financial independence among museums, M HKA is adapting its approach to ensure long-term sustainability. This adaptation involves enhancing visitor experiences and diversifying revenue streams while maintaining to enricht cultural engagement.

The redesign of the museum is informed by this growing need for financial stability. Interactive displays will be integrated to facilitate visitor engagement and bridge the gap between art and the public. Additionally, the inclusion of a publicly accessible roof terrace, known as the forum, will offer panoramic views of Antwerp and can be used for a range of cultural events.

A notable architectural feature of the museum’s redesign is the suspended white cube which is exclusively dedicated to art exhibitions. The suspended construction enables the creation of unobstructed floor plans, affording significant flexibility in exhibition layout design.

By this redesign the museum seeks to inspire, educate, and engage visitors while strengthening its ties with the city of Antwerp.

MHKA, Museum of Contemporary Art in Antwerp seek to change its current building and re-establish itself on the wide arena of cultural institutions in Antwerp. Museum has a complex history, from its roots in the anti-museum of the ICC, via the “kunsthalle with a collection” up to today’s aspirations to be a part of a network of regional museums and seeking to take its place within a global context.

The layers of critique inherent in this trajectory are evident in the counterpoints established in the clients brief for the proposed museum: questions of material, abstraction, scale, and scenography underpin an oscillation between what it describes as anti-museum fascinations and technical museum requirements. Underpinning this are fundamental questions about contemporary art’s history and its relation to wider questions of culture, society and the world of art and artistic practice, embodied in its attitude to the very idea of the museum.

The MHKA's legend was built on contacts with avant- garde movements in art of the 1950s and 1960s, such as minimal and conceptual art. Their most prominent representative was Gordon Matta Clark, who worked in Antwerp at the time and whose artworks formed the foundation of the museum's current collection. Initially informal, the movement became institutionalized over time in the form of the Internationaal Cultureel Centrum (ICC), and decades later the Museum of Modern Art in Antwerp (MHKA) became its successor. The planned construction of the new museum also involves renaming the institution the Flemish Museum of Contemporary Art (VMHK).

The duality between the avant-garde past and the institutional present is an important part of the museum's identity. How does one think about the setting of the Flemish Museum of Contemporary Art in a way that respects its critical history and context in which it operates?

Humankind has always made art. Through its appeal to the human senses, it has helped to shape the ways in which we perceive the world around us and, in its varied forms, offers a means beyond language through which we have become able to articulate our relationships with one another. Throughout the ages art and architecture were facilitators of societies’ development and transformation, of which the peak was embodied by the 19th century palaces of culture: public museums and galleries. Later, as modernity rapidly adapted the world to human needs and subsumed sublime nature within its own image, art became means of resistance. Expanding out of the studio and the gallery it moved outside, to portray and critique the relentless industrialisation against its own backdrop. Artists co-opted and adapted redundant structures left behind by the contemporary city’s rampant process of change.

The competition brief for the development of the M HKA, the contemporary art museum in Antwerp embodies many of the larger issues that arise from the forementioned shift. It emerged out of the activities of the ICC (Internationaal Cultureel Centrum), which was founded in the revolutionary spirit of the late 1960s, and had a long history of making place for itself in which an adaptation of an actual palace and an old disused office building were considered, until it finally settled in an old grain warehouse to become a full-fledged museum in 1982. The next step in its development, which is planned to move the museum into a new, purposely build location asks therefore to be consciously understood and developed. It is to be placed near the current building, as an urban figure in focus of undergoing conversion of a monumental former dock into a linear public park.

The proposal turns challenges of the competition brief: an existing building on site, the scale of the programme and limited budget into factors that generate quality. Efficiency is used to shape identity, linking to the legacy of Antwerp as a harbour city. It is a building that does not mimic the expression, but follows the logic of efficient structures for the industry. A museum that accommodates existing structure, the art, the general public, gallery visitors, and the neighbours. It creates environments, provides striking curatorial settings and versatile workspaces and does so with minimal means while fulfilling strives of the competition brief and reducing the carbon footprint. It welcomes the legacy of the M HKA as a pioneering institution that always appropriated spaces, exposes the back office to the visitors to contrast them with pristine gallery interiors, and becomes an icon by establishing its own league instead of trying to fit in. Yet it fits within the city.

The museum institution, despite the drastic changes that happened in its understanding over the centuries, was always directly connected with the concept of archivization. The following work is an attempt to draw attention that this tendency has significant negative aspects related to a particular model of thinking about the concept of a contemporary art museum. It aims to be understood as a manifesto; an architectural provocation that questions the existing guidelines in thinking about the institutions that focus on art of today. Although, it is not a criticism of a concept of archive itself, it tries to point out substantial democratic values that seem to be lost due to the above tendency. Due to the Derridian theory of deconstructivism, the human endeavour to archive is extensively rooted into our existence. It is an artificial attempt to tame a fear of loss, a civilizational mechanism to preserve the presence and a cultural product aimed to create the collective memory. Although, over the course of ages the ethicality of archivization was not a subject of question, nowadays it is evident that this matter is inextricably connected with politics and social conditions. Understanding the role that the archive plays in creating a historical context and that it provides an effective reference point for the work of both artists and art historians, the thesis challenges the global practice of understanding museums as institutions primarily storing the past. Taking as its subject the relatively young institution of the Flemish Museum of Contemporary Art, the work suggests a new conception of the archive as a place that is primarily a transcript of contemporary trends in art. Simultaneously, following the anti-museum theory, it proposes a new vision for the museum as an open habitat, an organic catalyst of the present and a transparent institution that brings together both resident artists and the international community.

This year's Interiors Buildings Cities graduation studio focused on reimagining the contemporary art museum typology through the lens of M HKA in Antwerp. The process of designing a new museum building, guided by principles of anti-monumentality and a dedication to public engagement, led to a site-specific intervention revolving around the excavation of the former Zuiderdokken area. This intervention not only influenced the architectural expression, but also resonated with M HKA's anti-institutional identity.

The act of excavation serves to shape the architectural character of the museum and the park's topography, as the excavated soil is repurposed for rammed earth construction. The idea of excavation extends beyond the physical act of digging, it also encompasses the exploration of negative spaces and interstitial areas within the design. These spaces are intentionally integrated to create opportunities for art encounters, social interaction and various levels of public engagement throughout the museum experience.

This year‘s graduation studio of Interiors Building Cities focuses on the redevelopment of the M HKA (Museum van Hedendaagse Kunst Antwerpen) in Belgium. In the context of an industrial metropolis like Antwerp, museums have evolved from spaces of representation and power structures to spaces for critique. Artists have repurposed disused structures in the city, including those left behind by the contemporary city, giving rise to new forms of art and the formation of art collectives and institutions since the 1960s. These spaces now serve as platforms for the public to engage with and learn about contemporary art and its significance in our society. They showcase a diverse range of mediums, from paintings and sculptures to photography, video, installations, and performance art. Additionally, educational programs and events are offered to enhance visitors‘ understanding of the art and the creative processes behind it.

With the redevelopment and relocation project, M HKA aims to establish a Flemish museum of contemporary art on a new site in the southern part of Antwerp. While the client‘s brief emphasizes the need for static sequences of spaces and programs, it fails to address the potential for unpredictable changes and user demands. Public institutions must bring flexibility to the forefront of architectural design, particularly when dealing with so-called obsolete buildings. This perspective is evident in the new site‘s design, where the planned demolition of a former court building is the only justification given in the brief. In my graduation design, I critique this decision by proposing to retain most of the existing structure, using it as the foundation for new towers on the site.

The new design for the Flemish Museum of Contemporary Art (VMHK) endeavoured to provide a contemporary interpretation of the nineteenth and twentieth century warehouse architecture, translated into a contemporary art museum. The 'Warehouse for Art' symbolizes its role as a repository for the museum’s knowledge and art, while at the same time identifying with the genius loci of the former port identity found along the Scheldt river and its surrounding brick buildings.

This industrial character is neutral, but not as aseptic as a characterless white cube and does not lose itself in architectural caprices. Moreover, the design its flexibility makes the building adaptable for its upcoming function as a museum and the ones after, thus making it future-proof.

Simultaneously, the design questions the conventional notion of a contemporary museum, aiming to transcend its exclusive institutional character and function as a public building instead. Within this pursuit of an 'anti-museum', the warehouse exemplifies a departure from the typical museum typology. Instead it represents a typology that contemporary art museums have discovered in industrial heritage and can fit into newly constructed buildings of the twenty-first century as well.

The building industry is one of the most resource-demanding and polluting industries in the world. Therefore there is a need to apply the circular economy principles within the industry enabling the transition towards a circular built environment. This transition requires the reuse of building components. However current practice shows that only components with high building quality or economic value are reused. Meanwhile, most buildings listed for demolition consist of low-quality and low economic valued building components. This is the case in post-war neighbourhoods resulting in a lot of construction and demolition waste. The paper investigates all factors that influence the value of building components in order to increase the rate of reuse. These factors are based on literature and summarized in a table of 23 factors. The post-war neighbourhood Boerhaavewijk in Haarlem serves as a case study to show how to determine the value of building components. The results show that post-war building components have value and reuse potential. The reclaimed building components are used in a primary school in the Boerhaavewijk.

There is an urgent need to address the shortage of student housing in Delft. However, the current design approach for student housing often fails to prioritize the creation of high-quality private spaces as well as social connections between individual housing units. While addressing the pressing need for more student housing, it is essential to reimagine the design of newly built accommodations to cater to both the private and social needs of students without compromising affordability.
The focus of the thematic research paper is to enhance the visual quality of students' private spaces through the use of computational evaluation. Recognizing the significance of factors like daylighting, outdoor views, and privacy in residential architecture, the study emphasizes the need to explicitly consider these factors during the early stages of the design process. By developing a parametric evaluation model, this research aims to evaluate visual quality in student dwellings and inform design decisions. The model is constructed based on conclusions drawn from literature review, interviews, and experimentation to identify visual quality parameters and provide clear visual data through heatmaps and number tags. This data helps highlight areas for improvement and allows for comparisons between different design alternatives.
The resulting project, Campus Village Delft, addresses the increased quality of private spaces by maximizing the hours of direct sunlight, view distance, and visual exposure representing the level of privacy. At the same time, the project aspires to create a community between the students, through carefully designed collective spaces, where unintentional encounters with your neighbors create a greater sense of belongingness.

The building industry waste and transportation can be reduced by reclaiming building components. Building 22, Applied Physics on the Campus of TU Delft can be transformed into student housing and public functions by using reclaimed building components of the existing building, in order to achieve the environmental ambitions of the TU Delft and to strengthen the relationship with the city regarding. This research assesses the potential of various interior building components by means of R-strategies for the future functional needs. By distributing the building components amongst the five R-strategies, a basis for a vision of the future of this building can be derived. This case could be an example for reducing costs and be a road towards a more sustainable building industry.

Korea had a history of wooden architecture for about 2,000 years before modernization. However, after the Korean War, the concept of modernist concrete high-rise apartments was radically introduced to solve the severe housing problem. In US, Charles Jencks declared the death of Modern Architecture, but it was a huge success in Korea. Apartments have become Korea’s representative residential type, and they call it Apatu. In addition, the phenomenon of demolishing old Apatu and reconstructing new ones every 30 years has become considered a housing culture until now. Instead of this existing reconstruction method, the principle of Open Buildings is proposed by reusing existing apartments into vertical infrastructure.