The Public Building studio studies the importance of the public domain within the built environment and the atmospheres formed around the relations between individuals and/or groups and the designed building. The task is to design architecture for music, and these atmospheres will now include a very important cultural factor in the determination of their value. Architects will assume the position that is defined by participation in the revitalization of culture for all users of the space. Individuals’ understandings of culture will be detached from their biological nature and patterns of emotional behavior through the use of virtual technologies that will help each person explore their own external consciousness. One that is independent of previous knowledge and experience and reacting only to a manifestation of isolated synesthetic experiences. This design is embodied through the ephemeral architectural form that challenges subjectivity in design by including all users of the space in the never-ending process that provides this building with an ever-changing appearance. The architect stops acting as a sculptor of that which is built. Instead he creates a mechanism that shapes the building based on the data collected from all users. The users are participants in architectural expression and the public building is now made by the public.

We now live in a time when it is now quicker, easier and more efficient to speak to one another, yet it doesn’t always reflect on the fruitfulness in decision making and outcome of a conversation. Face to face conversation is one of the most effective means to converse and the North Sea is a space which needs to be part of the conversation. The research report found that North Sea is a one of the most dense urban seascapes in the world, with each nation taking a piece of the sea for the benefit of themselves rather than seeking to explore the notion of the North Sea as a common. One space; stronger, more resilient and profitable for those interacting with it, whether you are a fisherman or an energy company. The architecture intervention has led to the notion of a space to gather those interacting in it, to put their nation status aside for the benefit of the North Sea. This space becomes a state of exception, where jurisdiction and sovereignty of one state no longer applies. The site is on Dogger Bank, a former land bridge it becomes a poetic reference to a past time when the United Kingdom was connected to the continental Europe. It is also one the shallowest points of the North Sea, making it physically possible to construct an island. The design will seek for all nations to contribute to the island, building an aspect of the architecture, to create an emotional connection, so the space feel like theirs. The architecture is designed to be prefabricated and shipped across the North Sea, the island cannot follow typical building methods. The building construction is also dependant on the weather therefore the time to build the island can not follow a traditional schedule. As a typology the building is a Parliament, but it is more than this. A hybrid building, it goes beyond the traditional parliament set up we know today. It seeks to look at conversation spaces; informal/formal as the main role to get attendees together and discuss matters on the North Sea. Every attendee would have to travel to the island and may find themselves delayed in leaving due to weather conditions. The attendees truly find themselves understanding the environment they are discussing and start to truly respect the environment they are discussing. The design will question the idea of performance as part of the decision making process. Parliaments today can be very theatrical (United Kingdom). The stage in this concept is very import in the design, it questions its position, is it the main assembly room floor , the informal conversation spaces or is it the North Sea? A part of the performance is the audience, the design questions if it is those attending the parliament or is it audience those beyond, and everyone interacting in the space? Finally, I ask those reading the book to ultimately question where you position yourself when making a decision, are you an ego (authoritarian, dualistic, self-destructive, imbalanced, power-seeking or eco (democratic, sustainable, balance, interdependent). And what would you do if you attended the parliament?

The relationship between industry and market, in the Netherlands of the 17th century, was based on a sustainable model. It linked small scale producers with consumers through a system of canal boats, maritime technology and agricultural innovations. This marketproduction connection was carried out by farmers known as ‘warmoeziers’. In 21th century Netherlands, canal transportation or ‘binnenvaart’ is acquiring more importance thanks to economical and sustainable benefits. Complimentary to the global seaports, the canal boats can reach directly the customers in the cities. This revival of ‘binnenvaart’ can allow for a new type of city market to emerge, where automatization, innovations in food production and vibrant public life goes hand in hand with a lower CO2 footprint. The aim of this ‘warmoezier market’ is to merge the state of contemporary port-cities with the expertise of the past resulting in a market building.

We are living in the Anthropocene; a period of time shaped by, and for, dominance of the human race. Barely a place or species sharing this earth remains unaffected by our activity. Humans treat other animals as commodities, objects available to be exploited. They are used for our gain and pleasure, at great cost to those individuals involved and indeed to entire species. The North Sea, surrounded by many of the world’s most powerful nations is suffering from catastrophic overfishing. Trillions of fish are killed each year, a scale of extraction so huge it is leaving ecosystems on the brink of collapse. A disconnect in our empathy for other species is further widened by the border between land and sea, the familiar and the unknown, between us and them. Scalloway is a small town in the Shetland Isles, 260 miles North East of Scotland. It sits in a wild, beautiful and romanticised landscape, surely the epitome of nature. Yet the islands are dominated by intense and ever growing salmon farms, highly destructive both to the fish who are farmed and the environment the industry dominates. As demand continues to grow, consumers typically have very little connection to the producers or the impacts felt by production. Scalloway is left in a state of constant adaptation, intensification and increasing dependency. Alternatives to animal-based foods exist and the arguments for their adoption, from nutrient profile to sustainability to animal welfare is compelling, so why haven’t we changed our approach to production? Food, despite playing an essential, daily part of each and every of our lives, appears to be the last aspect we are willing to adapt or change. It is embedded within our social, cultural and emotional connections: a change to our eating can bring so much more. Taking Scalloway as a precedent, a new approach to food production is envisaged, using spatial design as a tool to challenge, inspire and shift patterns in our daily lives. It harnesses the technical capability of architecture, providing the physical infrastructure for a new system of production, yet combines this with the aesthetic qualities it imbues to inspire, attract and reinforce the positivity of new possibilities. Finally, it breaks down barriers and thresholds to provide spatial connections, bringing together producer and consumer and creating habitats not only for humans but for all species to thrive. Understanding the process of change as a series of provocations, reminders and inspirations, cultural (ex)change invites the visitor on a journey. A series of moments mark the gradual transition from the comfort and familiarity of the land, to the sublime, unknown of the sea; defamiliarising, reorienting, sharing and expanding. Food production anchors habitat and livelihoods for other species in a mutually beneficial, productive relationship, bringing together human and non-human needs in places of co-existence. Consumption is reunited with production to create a place of experiential education, of discovery and exploration. A place that reconsiders, how we live and who we live alongside, bringing awareness and responsibility back into the public realm, back to the scale of the individual.

In this project the theme of the studio "Reclaiming Rome" was interpreted with different research and design methods, which resulted in an elaborate design of not only architecture but the environment. One of the leitmotifs of the project was taking inspiration from historical evidence of Rome, implementing the arches of ancient Roman viaducts into a contemporary design; or using a courtyard as a way to frame the brownfield, which is the area itself, and, in this way, emphasise the the urban experience.

The Dutch sea water level raised with 24cm over the last 128 years. From a linear increase, we can see an increasing trend since the 1990s. According to recent scientific research, the sea level in the Netherlands will rise 1 to 2 meters by 2100 with a maximum global warming of 2 degrees Celsius. With a temperature rise of 4 degrees, the North Sea water level will rise 3 meters. At the end of the next century, the rise can increase up to 8 meters. This project focuses on the Wadden Sea, one of the last remaining large tidal areas where the forces of nature are free to do as they please. It is the last of the authentic nature in the Netherland and is essential to millions of birds and fish. The whole Wadden Sea area, which stretches between Den Helder in the Netherlands and Esbjerg in Denmark, was declared a UNESCO World Heritage Site in 2009. Along the coast of the Northern Netherlands, salt marshes were created outside the dikes through the deposition of sand and silt with a spontaneously established vegetation on them. The plants, such as sea lavender, samphire and sea aster, are resistant to the regular flooding by salt tidal water. Salt marshes are one of the few Dutch landscapes of very great international significance. Salt marshes can play a role in protecting coastal regions from flooding. These intertidal zones are delimitated by wooden barriers created by man in settling fields, in order to reclaim land from the ocean. With the tide come sediments that are then held back by the wood enclosure as the water retreats. Salt tolerant species then stick to the mudflats making it more stable and bringing oxygen into the soil for regular plants to grow in these coastal ecosystems. The project therefore includes a territorial intervention: environmental engineering for coastal protection, a landscape Intervention: increase accessibility of the site, and a building intervention: offshore cabins inserted into the primary structure. The tidal area can be saved by the same forces of nature that make it unique: sedimentation can potentially be increased at the same pace as sea level rise, with help of low impact and low cost brushwood dams. With salt marshes breaking the waves, the impact of incoming seawater is muted, it promotes the wealth of species, and retains sediment. As a result, the marshes can grow with rising sea levels. The eroded brushwood dams from earlier times can be rehabilitated to reclaim land in front of the dike. The dams are extended into a floating boardwalk, which unlocks the engineered intervention as common ground. Offshore cabins are inserted into the primary structure on every intersection, overlooking the different landscapes. This increases attractiveness of the land in front-, on- and behind the dike and makes it better accessible from the Frisian hinterland, despite the sea level increase.

The Atlantic Wall bunker ruins stand on the coast, abandoned and falling apart. There is a kind of beauty in this scene. Contradiction between the rough concrete volumes defeated by asoft, ephemeral and seemingly delicate mass of water was the beginning of the research. Analysing the biggest territorial scale -the North Sea- the notion of “clashes” re-appeared. Historically, the North Sea was always an area of conflict. The constant fight between nature and the people trying to harness its power is it its very essence. In this context Atlantic wall seems to be the most contemporary example of the conflict on the area of the North Sea. Remains of Hitler’s plan stretch along the whole coast and in that sense are a direct translation of the territorial scale of the “war” into the architectural one- of a singular building- a bunker. Yet, the conflict around the Atlantic war was in fact deemed to be a failure from the beginning. From the 15 000 bunkers planned only 6000 were realized by 1943. Then, suddenly, without any actual battle, the war ended. Observing the horizon was the only task of the soldiers until the war came to an end. The “absence” of the war is the essence of this narrative. Conditions of waiting, observing and experiencing the present moment surrounded by nature became a base for guidance and exploration. Being part of theWadden Sea protected area, the location on the island of Terschelling emphasizes the contrast between the solid bunkers and dynamics of nature. Wadden Sea Islands are known for beautiful constantly changing dunes, inhabited by rich fauna and flora and influenced by regular tidal flows. One of many strong points on the island is the one located just next to the sea-shore, on top of the highest dune was chosen. It consisted of several buildings that were spread around that dune, serving primarily as an observation point. Now, many years after the bunkers were placed there, some still remain. The passage of time and power of nature has however, changed them. They’ve became ruins. Some walls fell apart, some volumes tilted and moved, some were covered by the sand and overgrown by the grass. The “present ruinous state” of the remnants of the Atlantic Wall was understood here as the fundamental and relevant experience of the history itself and the starting point for the design. Instead of protecting against the forces, the project tries to use them as the main actors in the architectonic setting. The dominant, always present, unstoppable forces of nature are the base for design decisions. The way of dealing with the knowledge was a strongly intuitive approach, mixing scientific knowledge with atmospheric perception of the nature. Inspiration for dealing with the composition, landscape and the ruins of the bunkers was taken from the archaeological excavation sites- the calculated geometric intervention against the vast masses of land in search of the “treasure” was to be used as the main concept in the design. The project relates to the landscape and experience of walking through the dunes. The wild nature is interpreted into rational concept. The different spaces and their architectonic qualities lead the visitor through subsequent spaces, constantly referring to the context. The ritual experience begins by leaving the village or the parking area and entering through one of two gates. From a distance, only some of the bunker ruins and the skylights protruding through the sand are visible. Only when cutting through the ground and the building inside are the dimensions of the places revealed. The main buildings are almost all underground and are developed by taking from the architectural language of the bunkers. The project tries to anticipate the flows of nature and takes the future time into consideration. Even though the building has a function to serve people at the beginning, it doesn’t have to be occupied all the time. It is a monument and its future role is to be there, in the constant condition of anticipation. Following the story of the bunkers that were left on sand to become ruins the concrete buildings are also going to stay and slowly deteriorate. The cycle will close waiting for yet another chapter.

The story about the relationship of human with water has been always linked with the fear of the hidden, natural power of water. By identifying the historical position of the North Sea, it is confirmed that the sea has been perceived as “the edge of the world” in its past. The sea and its cold northern waters was seen as an evil in itself, as a physical and a mental border, difficult to pass and coexist with. Looking at the present conditions, we (man) are being confronted with powerful nature again. In the past, the North Sea was difficult to navigate. Today, we are facing the issue of forecasting sea level rise and unpredictable weather. This shows the phenomenon of nature’s power is once again taking control over human. The subject of the project is focused on the strategy of overcoming this fear but once again harnessing it power as an opportunity for humans. In the past, people faced the challenge of passing the fearful water by improving sailing boats, discovering navigation techniques and studying its natural movements, currents and tides. This process helped us to familiarise ourselves with the initially unknown and to learn how to coexist with nature. Today, we are confronted with the increasing power of water, which we have fortified ourselves against from it by building high advanced dams, walls and floodgates. We are using physical, monstrous engineering interventions to protect ourselves from the water rather than embracing its power – like we did in the past. The design in itself aims to tackle the current issue of water level rise in a more traditional way, to open up to nature, to understand its behaviour and draw on our experience and knowledge. The project has been set on the Shetland Islands, to metaphorically connect the story of the project with the first settlers of the Isles first settlements of the Vikings. Historically they embraced the fear of the waters mystical power and sailed through the unknown sea. As a link to the present, the geographical location of the Shetlands’ dictates that their coastal line will be one of the first to be impacted by the rising sea. Moreover, the island is by definition a transitional territory, the link between the Norwegian Sea and the North Sea. The relationship between the power of water and the site was further explored in the architectural proposal. It was important to develop a cohesive narrative in the design, to bridge the past and present perception of water’s power with the site. This specifically related to the introduction of using renewable water energy as the main component of the project. By analysing local issues of the Isles’ residents and researching current knowledge of using water’s power, the site issues with the advanced technologies were combined into one coherent solution. By following this, I had to consider how far I can use the aforementioned natural power to not to damage the rough beauty of the site as well as the rough beauty of the natural power of water. This led to the introduction of the three architectural elements of my design– the harbour, the tidal power plant and the experiential path which links these two - the traditional way of using water (the harbour) with the advanced one (tidal power plant). Given the poetical nature of my project, the three interventions act as one line of experience, the deconstruction and analysis of building the tension and reflection of the story around the natural power of water, was an important procedure of translating the narrative into an invented design.

The Binckhorst in The Hague is one of the most promising development areas of The Netherlands. Over the next years, it will continue to develop into a high density mixed-use area. Among the tabula-rasa state of Binckhorst, a Public Building will be placed in the form of a music venue. Between the orthogonal high-rise blocks, a key-project will set the tone for the cultural development in the area. This development will be defined in a classical sense. Research shows that classical music has seen an uprising with the evolution of the internet and specifically, streaming services (Roberts, 2020) democratizing classical music through mass accessibility and distribution. However, the live classical music scene has always strongly followed formal tradition, aswell as its corresponding buildings. Thus, there is too little attention for the more experimental and modernistic development of classical music architecture. This project aims to focus on manifesting this internet-oriented, more dynamic, and informal side of classical music. This leads to the main question: How can dynamic re-iteration of concert hall designs modernise the audience experience of the live contemporary music scene? This question is answered through a series of research subjects; Object, Movement and Experience. The first architectural subject is researched through morpho-typological analysis of concert hall precedents, based on J.N.L. Durand and Aldo Rossi. Then, the second and third subjects are analysed by looking through the lens of praxeology and phenomenology, using theories of Henri Lefebvre and Merleau-Ponty. The fruits of these analyses result in a toolbox of design elements that will be used for the creation of a building typology that fits this new development in a long-lasting formal culture. The new project is to introduce dynamism, multiplicity and multifunctionality to the historical prototype, to allow for stimulation of the modernistic classical music experience.

On an old industrial site along the Tiber river, a extreme sport campus will reasteblish the interaction between city and river. By using inundation, the site will be activated and act as a entrance towards the Tiber.

The graduation project starts from the attention and research to the dynamic water level change in coastal area in North Sea, and by analysising the potential flooding risks, climate-sensitive mudflat, and the relationship between regional ecosystem and local people, the observation to changing coastal landscape are emphasised, to rethink how to reuse the leftover human space to reflect the changing ecological environment, emphasing people's bioregionalism awareness. By Redefining the meanings of the fortification heritage, the meanings of the Grain tower, defencing not only the national territory but defence for the territory defined by the whole nature; not only record the history, but measure the changing nature through time. Key words: Soft edge between sea and land , fortificaton heritage architecture, tidal mudflat, changing horizon, bioregionalism, changing ecological environment

Climate is changing. Weather conditions are becoming more extreme; we are expecting fiercer storm surges, more intense seasonal precipitation patterns and, in some calculations, up to three meters relative sea level rise. Especially the south coast of the North Sea will be affected the most. Particularly in the Netherlands, the coastal topography is shallow and densely populated. Rotterdam is one of the lowest urban areas along the south coast and it is here where changes will be most apparent. The city is built in a natural river delta, which has been altered extensively in the last millennia to facilitate a desirable and safe living environment for its inhabitants, initiating in the 14th century by damming the river Rotte. From then on, the settlement around the lock mechanism has evolved into one of the biggest urban areas in the Netherlands. It is here, where floods would cause economic loss through property damage and therefore social disruption to the population. My aim was to investigate into the most vulnerable residential districts of the city: Noordereiland, the sole urban river island of Rotterdam, proved itself as the first neighbourhood to flood in a case of high water levels. Not protected by dikes and lying the lowest above current mean water level, it presents itself as the most urgent district to investigate, seeing it as an ideal urban test laboratory to asses solutions to flooding in an urban environment. Firstly, limiting myself to the extents of the urban block, my project aim was to develop a systematic of how to convert the morphology of it under the extreme scenario of flooding. The system is composed of repetitive added portal structures, which span over the existing buildings. These build the framework for a new vertical circulation system, originating in corner gaps of the blocks. The circulatory system is built up by arcades on the inside and outside facades of the block, affixed to the sides of the portals. The new system converts the individual access routes of the units into a collective one for the whole block. Furthermore, extending over the whole island, these arcades, connecting the individual blocks by bridges, provide a new three-dimensional route across the whole district, providing it with an alternative plane to the flooded ground floor. Additionally, the portal structure provides a new foundation for added structures on top of the existing buildings, which compensate for the lost ground floor level. The project is experimenting in how the urban block could re-structure its morphology to cope with flooding. The purpose of the added structure is not to act as an autonomous piece of architecture, superimposed onto the existing fabric. However, as a supporting system to aid the morphological conversion of the block, and in turn, the whole island.

This project is motivated by the voices of the Amsterdam artists, for whom it becomes increasingly difficult to live and work in the city. The independent artists, activists, working-class people, among many other low- and mid-income groups who gave Amsterdam its unique, diverse and open character, have been driven out of the city centre for decades. Their place in the city is increasingly being taken by a homogeneous high-income group, leaving a unilateral street culture. Most striking about this issue is that artists are often accused of being contributors to this process called gentrification. The creativity of artists is often used by urban policy makers and developers to revitalize deprived urban areas. Their presence changes the perception of an area and forms an attractive business climate for today’s creative-knowledge economy. This adds value to the assets of property owners which causes an increase in house prices and leads to the eviction of the local inhabitants and even the artists themselves. In their search for a new place to live and work, groups of artists started inhabiting old, mostly industrial light spaces but it seems that no matter where they go, gentrification is just around the corner. As a response to this unfair gentrification process and the decreasing amount of affordable live- and workspaces, the final design facilitates a new and permanent ‘live-work’ building for many different types of artists to give them back their right to the city.

Past to Present to Past is an architectural investigation responding to the growing need to address sea level rise in the built environment. The two sites of focus are Leysdown-on-Sea, UK and Red Sands Fort in the Thames Estuary.

The Netherlands is often depicted as a battleground, with the Dutch in a constant struggle against the water that surrounds them. This project examines this tradition in the context of the Wadden Sea and the island of Schiermonnikoog, where this battle between the land and the sea is at its most extreme. This project traces the myth of ‘making new land’ by investigating the four major themes from the recent publication ‘Sweet and Salt: The Water and The Dutch’: conflict, concord, profit and pleasure. These themes are adapted and used to analyse the Dutch waterscapes of the Wadden Sea and the island of Schiermonnikoog. The scenario method is then used to project the outcome of this analysis into a future where West Frisian island of Schiermonnikoog is left to nature and risks slowly disappears into the currents of the North Sea. The design intervention narrates a new myth: ‘guarding the water’ by using the typology of a fort. The scenario has four chapters and each of them narrates a different time period of the island’s future. Thus the project derives its name from the heraldic motto of Zeeland: ‘Luctor et Emergo' - ‘I struggle and Emerge’.

This project seeks to reclame the Tiber for the City of Rome and in doing so will create a physical interface which blurs the boundaries between the river and land. The water of the river and a piece of the City's industrial heritage will be re_appropriated within this project for the creation of; a brewery, a performance venue, a social hub and a city-centre oasis. The abandoned site of the Papal arsenal and the neglected Tiber are brought back to life through the social function of the program, brought back into the metabolism of the vibrant city of Rome

This project initiates by looking at the space as a territory (Raffestin, 2012), constructed through social interactions and networks. I believe the design project must anticipate the global social and economic shifts that are present within the territory of the North Sea and must be shaped in relation to the effects of these changes on local societal level. Mapping is used as a tool of associating, ordering and projecting the changes in the qualities (territorialities) of the space rather then a mere visualisation tool (Corner,1999). Equally important, The scripting of scenarios based on literature and statistical data allows for the depiction of the alternate realities that the societal shifts could produce. Taking Port Landscapes, Automation and the energy transition as drivers of change, the project aims at redesigning an automated infrastructure for windblade production, storage and maintanance, and with that reshaping the coastal form based on this process. The aim is in determining the relationship between automation, form and the port landscape. Taking both automated and natural processes into account when designing, the project is inspired by the writings of Martin Pawley, in his work Terminal Architecture (Pawley, 1998) he writes: “ The real barometer of the value of buildings today is not their aesthetic pedigree, but rather their usefullness as terminals in the maze of networks that sustain modern life.Authentic Architecture has been disurbanised. It survives only in the shape of building like distribution centers, factories, petrol stations, that are designed as instruments not monuments.” The design depicts the process and actions of the machine. An automated line, hatched by the elements involved in the different processes along it. An attempt of containment and exposure of the ever expanding developments in automation and production. Human actors are no longer present within the confinement of the interior space, and instead as automation is pushed further out to sea due to increasing vessel size and production capacity, the Human remains on the coastline, to bear witness to this new separation between themselves and production. The human is now the spectator of this ever ending automated line. Key words: North Sea, Ports, Infrastructure, Automation

Since the industrial revolution we have become estranged from the sea. We became opponents instead of working together, and put up high walls to protect ourselves form the vagaries of an unpredictable sea. Somewhere along our path of progress, we lost our human connection to the sea. Before the sea became something we secluded, it was known for its reviving properties. In our increasingly intense society of busy cities and never ending incentives from globalization, leading to stress and burn-outs, there is a need to rebalance our cities and ourselves. Taking into account future projections for sea level rise, sea defence systems will have to grow intensively if land below sea level is to be kept habitable. This will result in a cumulative gap between the sea and the human system. Combined with the ever increasing amount of re-urbanisation, a whole new level of pressure on the border between coastal cities and the sea will arise. An example of this is the city of Den Helder. This city is disconnected from the sea by a eleven meter high dike, protecting the country from engulfing this geographical anchoring point of the Netherlands. The project focusses on actively leaving the city behind, projecting itself on the water in the solitude created by the dike, to return to the city revived again. The dike is presented as a public space, turning it from a border into a threshold before entering the territory of the sea. Transgressing this border generates a route of reflection from the rigid and intense city, into the wideness and freedom of the sea. The project consists out of a bathhouse, a swimming pool, a restaurant and a public roof and a viewing point. These are connected by a series of different routes. First the visitor leaves the city and enters the tower of entrance, here orientation is lost by the spiral stairs leading to the bridge. The bridge turns crossing the dike into a deliberate act of transgressing the border. The bridge ends in a high central space which is focussed on the changing, the abandonment of once responsibilities and stigma. This space splits into two elements with their own direction. From this space three routes lead through the diverse functions relating to the water, each in their own way. At the end of the two elements one finds himself surrounded by the water. One reaches for the view and the endless horizon of the sea and the other frames the touching of the water. After this experience of projecting oneself into the water, the visitor can return to the city revived again or linger a bit longer on the public landscape of the dike and benefit from the qualities of the sea.

Architecture often manifests itself for a multitude of decades in the built environment, as something that is static. It is in itself an end-result, often designed as a seamless whole, specifically applicable within the design of music venues. These are often iconic objects within city fabrics, sometimes only accessible by one specific target group. The spatial configuration and experiences within the building are staying the same during its lifespan. If our cities, environments, technologies, economies and even our own ideas, activities and (musical) preferences change constantly, why do we construct and design architecture still as something that is fixed, rigid, pre-established, and permanent? Can we create architecture which generates freedom and is open for interpretation, therefore responding to unforeseen activities? For the design of the music building, a framework is designed, which is indeterminate in its functions. The framework derives from a characteristic crane rail located in the Binckhorst, The Hague (Netherlands), which functions as the ''backbone'' of the whole project. It can be appropriated and used by different groups and (sub)cultures and host various activities. The framework is flexible and can grow over time in which there is not one particular end-result created. By doing this, the building is more resilient towards future societal changes.

As part of the Public Building studio, the track 'Music Marvel' was offered. The goal of this track was to create a music building in the Binckhorst, The Hague, that not only provides a space for musical performance, but does something greater, by contributing something to the location, city or music as a whole. The Binckhorst is a former industrial site that is in full transformation by the municipality to a lively urban area. The old industrial character of this site often gets lost in the process. At the same time, as has come forward from the site and manifeso research, what the Binckhorst is lacking is exchange. Both old and new projects are often walled off or turned inwards, and don't contribute to the site as a whole. The same is the case for the Binckhorst in the city of The Hague. It is where the municipality put all the functions it did not want elsewhere, and the location has barriers on all four sides, giving the people of the city and surroundings no reason to go there. The design brings this exchange back in the form of musical exchange. From case study research, four functions and their interrelations were derived that contribute to musical exchange. The four functions are performance space, practice space, workshop spaces and meeting space. In practice, these functions together lead to buildings becoming musical incubators, bringing forward musical interaction and musical talent. The design combines these functions in different ways to create different scenario's of musical exchange. It does this by re-using containers found throughout the Binckhorst and transforming them into modules with different musical and auxiliary functions. These modules can be rearranged in any manner within the space of a re-used canopy from BAM, the square that is created in front, an old craneway, and the waterfront of the old Binckhaven. The containers are moved and stacked using the old harbour cranes, and moved by using transport casettes. With this modular system many different configurations are possible. The design illustrates the possiblities of this system with three variants that play into the capabilities of the building, missing concert capacities in the city, and the ambitions of the municipality as mentioned in the Popnota 2017. Material re-use, circularity and the identity of the site are important themes in the project. The majority the building consists of re-used materials, sourced from the Binckhorst. Wherever this was not possible, mainly circular alternatives where used. The building is assembled in such a manner that is can be taken apart again. By re-using materials from the Binckhorst, using the characteristic elements of the site, and incorporating elements in the Binckhorst lost in redevelopment, such as street art, the identity of the Binckhorst is preserved and shown in the design.