This graduation report explains and illustrates the graduation project of Simone Hermans, entitled De Wadloper. The graduation project is part of the Technologies & Aesthetics graduation studio, a studio of the Form Studies chair. The graduation report consists of three parts: the research, the design and the technical foundation.

The Wadloper is a project focused on landscape-based design, with a focus on the implementation of technology and aesthetics. In the research, the landscape of Groningen was analysed, after which a master plan was designed for the region. This master plan includes space for a new research and visitor centre, located in the restored Lauwerszee. This centre, De Wadloper, consists of two parts: the visitor centre positioned against the Zoutkamperdijk, and the pavilion, placed in the Wadden Sea. In particular, the design focuses on the pavilion; a unique and innovative structure. De Wadloper innovatively relates to the effects of tides and rising sea levels by allowing it, like its visitors, to walk across the mud flats.

This research explores the design of a future-proof building for Groningen, focusing on energy efficiency and climate adaptation. Given the rising sea levels and climate changes, the study investigates urban, local, building, and detail scales to develop sustainable design strategies that will later be implemented into an architectural design. Historical and present-day challenges of water management in the Groningen area are examined, leading to an urban concept on how to make the Groningen Reitdiep area future resilient.

The study outlines three future urban scenarios: living on mounds, adapting existing arable farming on terps, and utilizing mixed farming in a dike landscape. Each scenario addresses infrastructure, energy systems, and building typologies. Key strategies include dry and wet floodproofing, passive solar design, and integrating wind and water for energy generation. The research concludes with guidelines for designing resilient buildings in flood-prone areas, emphasizing the importance of combining traditional knowledge with modern sustainable practices to create liveable environments for future generations. This comprehensive approach aims to ensure that future inhabitants of Groningen can coexist with rising water levels.

The final design will be created within one future urban scenario, focusing on a cultural community centre that is water resilient even within 100 years from now in 2124.

The project exmines the impacts of Water Culture in the Modern Period in Mexico City and aims to establish an alternate pathway in wake of socio-environmental pressures.

Due to climate change, the sea level is rising, posing a potential threat to the protective dikes in Groningen. In the next century, we might not be able to rely on these structures anymore. As a result, it becomes crucial to reimagine our architectural design strategies, anticipating a future where water might play a more prominent role in our everyday living. Moreover, in addressing the environmental challenges posed by climate change, it is essential that we transition towards a greater reliance on renewable energy sources. The integration of water-conscious design and increased utilisation of renewable energy are crucial steps toward creating a more sustainable and adaptable living environment for generations to come.

This research addresses the critical challenge of climate change and sea level rise, with a specific focus on the Netherlands, where sea dikes play a vital role in protecting the low-lying regions. Building on the recommendations of Van Den Dobbelsteen et al. (2009), the study examines the need to raise the sea dikes by at least 2 meters, with the possibility of even greater elevation in response to uncertain global CO2 reduction efforts. The research explores the implications of such height increases, including the transformation of dikes into significant landscape elements. An alternative scenario of abandoning certain regions due to flooding is considered but deemed economically catastrophic. The core of this research lies in investigating the potential for habitation on elevated dikes, proposing the concept of living on the dike as an innovative continuation of Dutch water management traditions. The research questions focus on identifying the most suitable foundation types and structural systems for buildings on dikes, optimizing these elements for future dike reinforcements, and determining the appropriate architectural language. The methodology includes a comprehensive literature review, case studies, and design research, leading to the development of design principles and a design brief that integrates research findings into practical architectural solutions. This study not only envisions a future where dikes serve as more than just protective barriers but also provides a framework for designing resilient, multifunctional dike structures that accommodate both safety and habitation.

We, as humans have undergone profound transformations over time, with an incredible amount of change occurring in just the past century. In this short span of time , we have evolved intellectually, our technology has advanced at an unprecedented rate, nature itself has been altered, and our perception of life and its limitless possibilities has shifted. Now, try to imagine what further changes could unfold over the next 100 years. Everything around us is in a state of constant flux. Change is not a temporary phase; it is the essence of life itself, unfolding perpetually.

In this ever-evolving landscape, aesthetics play a crucial role. Our appreciation of beauty, harmony, and design - profoundly influences how we experience the world. It’s not just about how things look; it’s about how they make us feel. In architecture and technology, the way something is designed can significantly impact its acceptance. When a design speaks to our senses, we are more likely to embrace it, no matter how novel or advanced it may be.

As our surroundings evolve to meet new demands of society, sustainability, and climate, the importance of aesthetic appeal will grow. The future will not only be about innovation but also about the visual and emotional appeal. Ultimately, what we build will reflect the nature of human experience. Just as we have reshaped ourselves and the world around us, so too will our built environment continue to change, reflecting the fluid and ever-evolving nature of human life.

This master’s thesis investigates the concepts of biophilic design, a concept that believes that the build environment can bring people and nature closer together, positively influencing both. After investigating the architectural expression of biophilic design, they are implemented in a design. The design of a library and theater brings back nature into an abandoned site, and provides a building for that serves the community on multiple levels.

A written thesis on how to use the principle of pointillism as a method of using colour in the exterior of architecture & An architectural design that uses pointillism as one among other aspects to create a sequential process of arrival in order to provide a versatile experience of architecture.

Tempelhof has become an oasis of leisure in a city that never sleeps, where the unplanned and spontaneous can take place. Its worth as a park, however, is always put against its land value. As Berlin expands, its demand for real-state grows as anywhere else in the world, and “the large green spot” in the center of its urban fabric always draws unwanted attention/ However, any alteration or improvement in the field is currently prohibited by the "Tempelhof Conservation Act", a law inacted by concerned citizens that fear for the park's existance and destruction. This very act, that was meant to preserve this area, has also prevented it from developing and responding to the needs of the very people who treasure it. “Craftscapes” is a playful attempt at reaching a consensus between this community, city and the vibrant nature that has found refuge in this retired airfield through a series of small timber interventions that culminate with a school for arts and crafts.

In the urban and coastal region surrounding the Marmara Sea, a detachment between human life and the ocean is emerging that seems primarily caused by the consequences of post-industrial anthropogenic processes. The effects are seen in the form of a mucilage plague in the waters, posing a threat to marine life, and thereby emphasizing the urgent need for intervention. This project, strives to unveil the interplay between the natural dynamics of the Sea of Marmara and our human relationship with this vital, pulsating ecosystem.

At its core, the architectural intervention proposes a symbiotic architecture, positioning itself as a mediator that is bridging the widening gap between humanity and nature: An eco-centric approach that dissolves the conventional demarcation lines between land and water. By showcasing the various activities occurring in our oceans, the project seeks to enhance the visible connection and experience, developing a strengthened collective awareness of the ecological body we are part of. A carefully curated journey through an architectural landscape aims to create a deeper understanding of the interconnectedness and cyclical rhythms inherent to the surrounding landscape. Drawing from the insights of J. Bloomer, who challenges the conventional notion of coastlines as mere edges, the project embraces the concept of interrelational edge zones. Here, the terrain is seen not as a binary transition but as a dynamic and continuous process.

In essence, the project aspires to not only address the immediate ecological concerns surrounding the Marmara Sea but also to spark a shift in our collective consciousness. By connecting architectural innovation with ecological principles, it strives to establish a harmonious co-existence between humans and the natural world, fostering a deep ecological awareness that transcends traditional boundaries.

As the way we interact with maps keeps changing, so do the maps change alongside. And it can be easily pointed out how these changes come alongside a large number of advantages for the average map user, such as quick access to data or the ability to view more or less of the Earth's surface with just a mouse scroll, as well as for specialists such as cartographers or spatial data analysts, as it is now easier then ever to manipulate complex data. That being said, the challenges have also shifted, from the expertise of the map maker to the software solutions which now do all the work.

One of the many challenges imposed by the aforementioned is represented by the way the map generalization process is achieved. This graduation project serves as a continuation to the countless amount of research which has already been performed in this field, with a focus on the niche world on Vario-Scale Maps, and in particular how borders are handled in this generalization process.

There is already a large number of different solutions available, some of them being considered as standard and used by some of the biggest players in the world of geo-information. However, it seems that no single one solution is a `silver bullet`, as they all have their advantages and disadvantages, as well as cases where one generalization workflow is clearly more suited then others.

Considering the actual status quo of the industry, this thesis will take a look at some of these already available solutions on the market, both individually as well as together, and will try to answer the following research question: \emph{To what extent can multiple line-generalization algorithms be (simultaneously) introduced in the Vario-Scale structure such that they preserve the topology and enable an optimal line density (while trying to preserve the characteristics of the initial shape as well).}

To reach an answer, it is necessary to start first from the lowest level, with understanding how line generalization function in different situations, then slowly building up the structure by introducing these new concepts in the broader workflow, to see what impact it has on it as a whole.

Nature inclusive is a large topic that is still in its pioneering phase. There is a need for clear elaboration and ways of incorporating this new way of thinking into design. In order to have a functional nature inclusive design one must fist
know the existing ecosystem to contribute to this. The research question: how can a designer analyze a Dutch city to find the existing ecological structure and nature inclusive potential? Will be answered by making an analysis method. This analysis method will use insights of literature and ecological knowledge in combination with already broadly known analysis methods. By combining the way of analyzing of designers with the knowledge of nature inclusivity, a method is formed that will help create an nature inclusive design vision. The method can also be used as a tool to talk to city ecologist in order to make a well balanced ecological plan. This research limits itself to the animals of the Dutch city. Use of the method will apply best to cities comparable to the city of Rotterdam, which is used as example city in the research. The outcome of the analysis method is a clear vision on the nature inclusive potential of a site. Using visual aids and a list of recommendations this vision can be used in the start of the designing phase.

How can we design a low-energy house in the
post-industrial context with the use of environment and
technology and still keep heritage and expression of the past
or machine architecture?

Architecture is a creative craft within certain limitations of program, technical requirements, environmental aspects, etc. and every project comes with a vast number of challenges that have to be tackled, giving the designer endless possibilities for solutions. A design tool used by many architects throughout the centuries to explore these possibilities has been painting. What is essential to consider is that architectural paintings can help architects stimulate their creativity and imagination. Despite this, the ways in which architectural paintings can be used in the design process and the process of making an architectural painting is rarely explicitly investigated. Therefore, the aim of this research is to understand the implicit creative process of architects who use painting as a design tool. The project "Elbetitsa" is an example of how architectural paintings can be used as a tool during the design process to stimulate creativity and create meaningful projects by addressing the multidimensional character of architecture.

Over the past decades the act of play has taken on an ever-decreasing form of
importance in society. This not only leads to the absence of its accompanying
architecture, but also to more boring, uniform and hollow spaces. With the ambition of designing for the homo ludens of today, research was first carried out into the characteristics of places where play arises, after which these findings could be translated in architectural objects provoking introspective play through a deep experience of place, to be found at De Hoge Veluwe National Park.

The greatest of all arts, music, can evoke deep emotions and memories. It has the power to transfer the listener to a different world. The first few notes of Brahms allegro amabile (op.120) instantly brings one in a state of presence, whereas Mahler’s fifth symphony’s adagietto or Wagner’s Lohengrin prelude slowly invites the audience in a trance of reverie. It’s something that touches and engulfs the soul each time it enters the inner ear. Pieces that are an assemblage of rhythms, tensions and proportions form a certain expression. To listen to and be embossed by such expressions of life is something that we do every day. We listen to music, read books, watch movies, go to museums and immerse ourselves with culture from all over the world. All of these things combined make us who and what we are. They serve as incubators for new ideas. When you work in the creative field, everything you do is connected to who you are, therefore making you a part of the past. A thread of cultural life populated by objects, things or human activities that explain us where we came from and how we can move forward. Culture is thinking about the world, looking closely, asking questions, listening and comprehending.

From a personal fascination that grounded itself during a working period in Switzerland in 20’-21’ the idea arose to observe the villages in the valley of the Lower Engadine in Switzerland. A specific fascination and deep love for these organic but simultaneously traditional places manifested itself focussing on the perspectives of craft, material and an overall attitude towards life. This research intends to identify which values are embedded in these rural Alpine settlements, understand how they were formed and fathom how the local architectural typology works in order to find out why the presence embedded in these places is so strong.

My personal experiences with these places made me realise that architecture has the power to arouse deep emotions and feelings. It might not be on the same level as music can be, but by investigating and describing the qualities of these place I believe that it can give us an insight into the hidden poetical side of these places. This physical journey accompanied by personal anecdotes, drawings and models allows one to travel into a physical place hidden away deep within the Swiss Alps to introduce new feelings and emotions to our personal world. This work is a translation of a fascination throughout new experiences, personal conversations, insights and knowledge that formed the basis for my graduation design.

It is well known that materials in architecture are essential for structural purposes. The use of materials is not only about meeting constructive criteria. It is also about creating a look and feel to a design or space. This article examines the relationship between the physical and spiritual realms in architecture. The results of interviews with nine people reveal how people experience the material and immaterial worlds in Design. In particular, the context and appearance of an object plays a major role in the experience of Architecture. Every detail affects how Architecture is experienced.