EH
E.W.M. Hehenkamp
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6 records found
1
Spaces of Hope
In what ways can community spaces be used to foster preparedness among residents in anticipation of a predicted earthquake in Istanbul?
My design focuses on creating a community space in Kanarya, Istanbul, with two main goals. The primary goal is to establish a safe space that provides all the necessary tools which are needed after an earthquake disaster. The residents of the neighborhood can come together in the self-sustaining building, which serves as a gathering point (based on the AFAD designated areas) after a disaster to have a safe space, away from the probably destroyed city. Later the building will facilitate the community with its “healing” character and give the community the space to recover after a disaster. The second goal is to use the proposed building before a disaster occurs. The reasoning behind that is so that communities can get familiar with the facilities, and create memories and a sense of belonging to the place. The building design, of a community kitchen, in the neighborhood Kanarya (before the disaster) contributes not only to the daily lives of residents but also to the overall development of the are by creating employment opportunities and facilities that attract people from neighboring localities. The community kitchen aims to provide inhabitants with a daily goal that aligns with the community’s needs. Keeping these requirements in mind, the community kitchen in Kanarya will include a market area and workshop spaces. Here, residents will be able to grow food, cook together, start small crafting projects, such as knitting, and have the opportunity to sell their creations, which aims to provide economic growth within the community. Many design decisions made during the design process are primarily based on the experience of people after the earthquakes on the 6th of February 2023 in Kahramanmaraş. This knowledge was mainly acquired during my work for the Architectural Recovery Team, a foundation created with fellow students to reconstruct long-term housing after the disaster. Besides that, my design decisions are based on the research conducted about disaster preparedness and the psychological influences of space to create a resilient city.
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My design focuses on creating a community space in Kanarya, Istanbul, with two main goals. The primary goal is to establish a safe space that provides all the necessary tools which are needed after an earthquake disaster. The residents of the neighborhood can come together in the self-sustaining building, which serves as a gathering point (based on the AFAD designated areas) after a disaster to have a safe space, away from the probably destroyed city. Later the building will facilitate the community with its “healing” character and give the community the space to recover after a disaster. The second goal is to use the proposed building before a disaster occurs. The reasoning behind that is so that communities can get familiar with the facilities, and create memories and a sense of belonging to the place. The building design, of a community kitchen, in the neighborhood Kanarya (before the disaster) contributes not only to the daily lives of residents but also to the overall development of the are by creating employment opportunities and facilities that attract people from neighboring localities. The community kitchen aims to provide inhabitants with a daily goal that aligns with the community’s needs. Keeping these requirements in mind, the community kitchen in Kanarya will include a market area and workshop spaces. Here, residents will be able to grow food, cook together, start small crafting projects, such as knitting, and have the opportunity to sell their creations, which aims to provide economic growth within the community. Many design decisions made during the design process are primarily based on the experience of people after the earthquakes on the 6th of February 2023 in Kahramanmaraş. This knowledge was mainly acquired during my work for the Architectural Recovery Team, a foundation created with fellow students to reconstruct long-term housing after the disaster. Besides that, my design decisions are based on the research conducted about disaster preparedness and the psychological influences of space to create a resilient city.
Google Computer Science Faculty
Education Space of Fluidity
With the help of information technology, people can not only store the massive knowledge formed over thousands of years in various network databases but also present the process of knowledge production in different spaces at the same time. At this time, education will present a new ecology that can be learned everywhere and all the time. The physical boundaries of peer communication, work, and learning become blurred or even disappear completely, and the fluidity of educational space arises at a historic moment. It can be seen from recent experience that the traditional model of space and ownership (space owned by colleges and departments) is changing to a more diversified and flexible shared space. Success depends not only on the type of space provided but also on how to connect different types of space through circulation and create interactive activities.
This project, Google Computer Science Faculty, based on Google's plans and ambitions to enter the higher education market, tries to create fluidity in the next generation of educational spaces by focusing on the design of circulation areas. ...
This project, Google Computer Science Faculty, based on Google's plans and ambitions to enter the higher education market, tries to create fluidity in the next generation of educational spaces by focusing on the design of circulation areas. ...
With the help of information technology, people can not only store the massive knowledge formed over thousands of years in various network databases but also present the process of knowledge production in different spaces at the same time. At this time, education will present a new ecology that can be learned everywhere and all the time. The physical boundaries of peer communication, work, and learning become blurred or even disappear completely, and the fluidity of educational space arises at a historic moment. It can be seen from recent experience that the traditional model of space and ownership (space owned by colleges and departments) is changing to a more diversified and flexible shared space. Success depends not only on the type of space provided but also on how to connect different types of space through circulation and create interactive activities.
This project, Google Computer Science Faculty, based on Google's plans and ambitions to enter the higher education market, tries to create fluidity in the next generation of educational spaces by focusing on the design of circulation areas.
This project, Google Computer Science Faculty, based on Google's plans and ambitions to enter the higher education market, tries to create fluidity in the next generation of educational spaces by focusing on the design of circulation areas.
THE JUNKSPACE MONUMENT, An ode to monsters and parking lots
An empowering network of urban interventions in Rotterdam
Facing the neo-liberalisation of the city, "the furtive monument" is a path across the city, combining programs of the body, the mind and the politics, in order to reach a state of empowerment. Based on a situationist drift, architectural interventions transform the way the city of Rotterdam is experienced, not based on profit but based on programmatic activations. If the city is a generic cadaver, the project has the ambition to revive its soul from its carcass, extracting its qualities, disrupting the systems in place and re-assembling its components. The city, seen as programmatic intensities, states that architecture doesn’t have to be built.
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Facing the neo-liberalisation of the city, "the furtive monument" is a path across the city, combining programs of the body, the mind and the politics, in order to reach a state of empowerment. Based on a situationist drift, architectural interventions transform the way the city of Rotterdam is experienced, not based on profit but based on programmatic activations. If the city is a generic cadaver, the project has the ambition to revive its soul from its carcass, extracting its qualities, disrupting the systems in place and re-assembling its components. The city, seen as programmatic intensities, states that architecture doesn’t have to be built.
Architecture as a discipline is deeply involved in a constant material entanglement with a large number of entities. Yet across the discipline, nature-culture, subject- object distinctions are still being forcefully being held up, with the consequence of invasion of many territories, inhabited by other species and the destruction of their environments. In order to overcome such damaging differentiations, it is necessary to reconsider tour concepts of ontological hierarchies and their outcomes in architecture. This may allow us to create new affective environments, considerate of the constant set of relations that we find ourselves entangled in.
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Architecture as a discipline is deeply involved in a constant material entanglement with a large number of entities. Yet across the discipline, nature-culture, subject- object distinctions are still being forcefully being held up, with the consequence of invasion of many territories, inhabited by other species and the destruction of their environments. In order to overcome such damaging differentiations, it is necessary to reconsider tour concepts of ontological hierarchies and their outcomes in architecture. This may allow us to create new affective environments, considerate of the constant set of relations that we find ourselves entangled in.
Bewogen Ruimte
Architectuur door de ogen van een filmmaker
Hoewel ik tijdens mijn opleiding leerde ontwerpen, voelde ik dat ik maar weinig grip kreeg op de dynamiek waarmee we dingen beleven. We ontwerpen gebouwen van steen en hout, die stilstaan; toch lijkt alles wat zich tussen de muren van onze huizen en steden afspeelt bewegelijk en tijdelijk. We nemen de materiële wereld allemaal ongeveer hetzelfde waar met onze zintuigen, toch beleven we alles anders. Soms beweeg ik me vluchtig en onverschillig en soms langzaam en aandachtig. Soms brengt een geluid of geur me in vervoering en vergeet ik voor even de wereld om me heen. Soms verdwaal ik in een dagdroom; en terwijl mijn lichaam zich nog altijd begeeft in dezelfde wereld, reis ik in gedachten door verschillende plekken en tijden tegelijk.
Ik stelde aan het begin van dit jaar de vraag: wat is de geleefde ruimte? Een ruimte die gekleurd lijkt door onze herinneringen, associaties, verbeelding en onderbewustzijn. Ik richtte me in mijn onderzoek op film, omdat filmmakers - meer dan architecten - een taal hebben ontwikkeld die op expliciete manier uitdrukking geeft aan de belevingswereld van de toeschouwer. Filmmakers zijn zich ervan bewust, hoe je met montage - een nauwkeurige samenstelling van licht, geluid, schaal, beweging en ritme - de emotie van de toeschouwer kan sturen. Door het scheppen van relaties en met behulp van suggesties en associaties ontstaat nieuwe betekenis.
Aan de hand van drie cinematografische ordeningsprincipes, bestudeerde ik de effecten van een architectonische montage op de belevingswereld van de gebruiker. Ik zocht naar een nieuwe taal om de dynamiek van licht, geluid, geur en beweging op een expliciete manier te integreren in het ontwerpproces.
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Ik stelde aan het begin van dit jaar de vraag: wat is de geleefde ruimte? Een ruimte die gekleurd lijkt door onze herinneringen, associaties, verbeelding en onderbewustzijn. Ik richtte me in mijn onderzoek op film, omdat filmmakers - meer dan architecten - een taal hebben ontwikkeld die op expliciete manier uitdrukking geeft aan de belevingswereld van de toeschouwer. Filmmakers zijn zich ervan bewust, hoe je met montage - een nauwkeurige samenstelling van licht, geluid, schaal, beweging en ritme - de emotie van de toeschouwer kan sturen. Door het scheppen van relaties en met behulp van suggesties en associaties ontstaat nieuwe betekenis.
Aan de hand van drie cinematografische ordeningsprincipes, bestudeerde ik de effecten van een architectonische montage op de belevingswereld van de gebruiker. Ik zocht naar een nieuwe taal om de dynamiek van licht, geluid, geur en beweging op een expliciete manier te integreren in het ontwerpproces.
...
Hoewel ik tijdens mijn opleiding leerde ontwerpen, voelde ik dat ik maar weinig grip kreeg op de dynamiek waarmee we dingen beleven. We ontwerpen gebouwen van steen en hout, die stilstaan; toch lijkt alles wat zich tussen de muren van onze huizen en steden afspeelt bewegelijk en tijdelijk. We nemen de materiële wereld allemaal ongeveer hetzelfde waar met onze zintuigen, toch beleven we alles anders. Soms beweeg ik me vluchtig en onverschillig en soms langzaam en aandachtig. Soms brengt een geluid of geur me in vervoering en vergeet ik voor even de wereld om me heen. Soms verdwaal ik in een dagdroom; en terwijl mijn lichaam zich nog altijd begeeft in dezelfde wereld, reis ik in gedachten door verschillende plekken en tijden tegelijk.
Ik stelde aan het begin van dit jaar de vraag: wat is de geleefde ruimte? Een ruimte die gekleurd lijkt door onze herinneringen, associaties, verbeelding en onderbewustzijn. Ik richtte me in mijn onderzoek op film, omdat filmmakers - meer dan architecten - een taal hebben ontwikkeld die op expliciete manier uitdrukking geeft aan de belevingswereld van de toeschouwer. Filmmakers zijn zich ervan bewust, hoe je met montage - een nauwkeurige samenstelling van licht, geluid, schaal, beweging en ritme - de emotie van de toeschouwer kan sturen. Door het scheppen van relaties en met behulp van suggesties en associaties ontstaat nieuwe betekenis.
Aan de hand van drie cinematografische ordeningsprincipes, bestudeerde ik de effecten van een architectonische montage op de belevingswereld van de gebruiker. Ik zocht naar een nieuwe taal om de dynamiek van licht, geluid, geur en beweging op een expliciete manier te integreren in het ontwerpproces.
Ik stelde aan het begin van dit jaar de vraag: wat is de geleefde ruimte? Een ruimte die gekleurd lijkt door onze herinneringen, associaties, verbeelding en onderbewustzijn. Ik richtte me in mijn onderzoek op film, omdat filmmakers - meer dan architecten - een taal hebben ontwikkeld die op expliciete manier uitdrukking geeft aan de belevingswereld van de toeschouwer. Filmmakers zijn zich ervan bewust, hoe je met montage - een nauwkeurige samenstelling van licht, geluid, schaal, beweging en ritme - de emotie van de toeschouwer kan sturen. Door het scheppen van relaties en met behulp van suggesties en associaties ontstaat nieuwe betekenis.
Aan de hand van drie cinematografische ordeningsprincipes, bestudeerde ik de effecten van een architectonische montage op de belevingswereld van de gebruiker. Ik zocht naar een nieuwe taal om de dynamiek van licht, geluid, geur en beweging op een expliciete manier te integreren in het ontwerpproces.
The Untapped Potential of Video in Architectural Design is a research and design project that explores the application of video-based techniques in the architectural design process. The project started with an experimental and applied research phase diving into video-based techniques at different stages of the design process, followed by my own design project where I could further apply and test these techniques. Due to the time-intensive nature of video production, it turned out to be difficult to use video at certain stages of designing, specifically the phase of generating and developing design ideas. In other phases, such as at the beginning and final representation, the use of video was very fruitful. The same pattern emerged when I continued to use video in my own design process; the application in the earlier research phase and the final representation phase of my design project, worked well. The use of video in the intermediate phase of generating and developing ideas less so. All of the videos that I made throughout the project, including most importantly the Research Film containing all of my research compiled together, as well as my final design videos, are available on my YouTube channel at the link below.
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The Untapped Potential of Video in Architectural Design is a research and design project that explores the application of video-based techniques in the architectural design process. The project started with an experimental and applied research phase diving into video-based techniques at different stages of the design process, followed by my own design project where I could further apply and test these techniques. Due to the time-intensive nature of video production, it turned out to be difficult to use video at certain stages of designing, specifically the phase of generating and developing design ideas. In other phases, such as at the beginning and final representation, the use of video was very fruitful. The same pattern emerged when I continued to use video in my own design process; the application in the earlier research phase and the final representation phase of my design project, worked well. The use of video in the intermediate phase of generating and developing ideas less so. All of the videos that I made throughout the project, including most importantly the Research Film containing all of my research compiled together, as well as my final design videos, are available on my YouTube channel at the link below.