This thesis explores the transformation of Haus Strasser (1918/19) by Adolf Loos as a case study to understand the application and development of Raumplan principles in conversions. Based on an analysis of archival and contemporary architectural drawings, photographs, and literature, it aims to reveal how Loos restructured circulation, introduced layers, and used materials to define spatial hierarchies and enhance interior experience. The study highlights how movement and perception were carefully arranged through reconfigured staircases, axial views, and strategic use of mirrors, openings and materials. It argues that the transformation of Haus Strasser demonstrates how existing structures can be reinterpreted through Raumplan principles – not by imposing new forms, but by revealing the spatial potential within the original design to create a cohesive architectural whole.

This thesis responds to the brief of the miscarried 2021 competition for a new architecture and archive center for the VAi (Vlaams Architectuurinstituut). Instead of placing the archive in an existing century old church in Berchem, as proposed in the competition, this project reuses existing infrastructures - both built and institutional. Now, the project is situated in deSingel, an international art campus located on the fringes of Antwerp, where the current offices and exhibition spaces of the VAi are situated.

The project proposes a “strategic reuse and densification” of DeSingel to clarify and intensify its spatial logic through two phases (phase 1: densification and phase 2: strategic reuse).

First, a new 5,500 m² volume is added at the southeast edge of the site, adjacent to the terraces. It houses the main archive depot along public-facing programs such as a new restaurant, a reading room, office spaces and a seminar room for the different publics of deSingel. The second phase consists of a series of smaller interventions that repair the existing circulation loops and enhance the continuity and legibility of the West-East axis. This renewed axis connects the new archive in the East to the West by distributing the functions of the VAi along that line. Accordingly, a new entrance is created on the western side. Further along the promenade toward the East, exhibition spaces are reintroduced in the southern corridors, leading to the newly added volume, which redefines the end of this promenade architecturale by transforming a former dead end into a new interior crossroad.

The project offers a dual benefit: it addresses circulation issues while defining a previously underused area. At the same time, it engages with the existing context by reusing elements of the deSingel program (Black Hall, Offices, Library, Exhibition Corridor).
In this way, the project becomes a dialogue between the new and the old.

Between modernity and the present stakes.

In the interiors, the materiality reinforces this conversation. The existing exposed aggregate concrete walls, designed by modernist architect Léon Stynen, are layered with a new rammed earth core for the depot storage. Both materials convey a sense of mass, but in the context of an archive, rammed earth offers additional benefits over concrete: providing thermal mass and natural humidity control.

This graduation project is situated within the deSingel complex in Antwerp, originally designed by Léon Stynen in 1965 and progressively expanded over the decades, most notably with an addition by Stéphane Beel in 2010. Among its diverse cultural functions, deSingel accommodates the Flemish Architecture Institute (VAi), whose archival depot, however, is currently located elsewhere in the city. The central aim of the Interiors, Buildings, Cities graduation studio was to reimagine the integration of the VAi’s full program, including its archive, within the existing structure of deSingel.

A primary design challenge was to address the tension between introducing the depot function and remaining sensitive to the architectural principles established by both Stynen and Beel. While Stynen’s original complex was characterized by clarity of circulation and spatial hierarchy, Beel’s intervention introduced a fragmented and less coherent layout in relation to the original building. This proposal strategically activates the vacant plot to the west of the site, currently used for parking and logistical services, which directly connects to the VAi offices. By positioning the new intervention between these two architecturally disparate wings, the project attempts to reconcile the spatial and conceptual disjunctions inherent in the current condition.

The project is rooted in both theoretical and design-based research. At the outset of the academic year, communal seminars explored the architectural archive not merely as a repository, but as a spatial construct shaped by cultural, institutional, and narrative forces.

A central theme emerging from these discussions was the interdependence between archive and exhibition—how archiving stems from a fundamental human desire to leave a trace, and how exhibition practices inevitably shape what is remembered and what is omitted. This raised critical questions around curatorship, authorship, and institutional responsibility: What is selected for display, and by whom? What remains invisible, and why?

This year the Interiors Buildings Cities graduation studio focused on a proposal of an architecture archive for the Flanders Architecture Institute (VAi) set in the context of the Cultural Campus of De Singel in Antwerp.

Following up on the intetions and brief of a failed competition for the VAi's new archive. The project aims to rethink possibilities of the institution's development through the scope of their current situation and position as part of De Singel Cultural Campus. Aiming to reuse and transform the existing spaces of the complex to accomodate growing needs of the institution. Creating an environment which would align with values and position of the institution itself. Negotiating the use of shared spaces in light of its public responsibilities and proposing new built volume based on study and reinterpretation of material culture as found on site.

The aim is to create an archive that serves not as mere repository of knowledge, but engages in its production. Through inter-institutional collaboration remaining receptive of ongoing cultural discourse.

This year, the Interiors Buildings Cities graduation studio focused on relocating the VAi (Flemish Architecture Institute) archive from the city centre of Antwerp to the DeSingel campus, aiming to bring together its activities within a unified setting. Situated at the city’s edge, DeSingel was originally conceived by Léon Stynen as a cultural hub embedded in the landscape, with raised terraces, open courtyards, and carefully composed views. Over time, however, later additions, particularly Beel’s 2010 extension, fragmented the spatial clarity and weakened the building’s relationship to its surroundings.

This project seeks to restore that coherence. A new architectural wall is introduced along the southern façade, drawing on the historical logic of the Brialmont Ramparts. It acts as a threshold shielding the campus from the highway and forming a quiet, inward-facing courtyard. The archive is housed within this structure, making it a central and visible part of the design.

Circulation is reconnected and a series of gardens help rebuild the link between architecture and landscape. The terraces, once neglected and exposed, are reimagined as contemplative spaces with framed views.

Together, these interventions create a unified and welcoming campus where architecture, landscape, and the VAi’s mission come together to strengthen its presence and encourage greater public engagement.

During the 1920s and 1930s, a group of Viennese architects designed houses with an architectural idea called Raumplan. With this idea, primarily larger villas were designed and built. The houses that Jacques Groag designed for the Viennese Werkbundsiedlung have some implementations of the characteristics of the Raumplan but were designed as lower-middle-class housing.

Therefore, the research question is as follows: what happened to the Raumplan when it was applied to Groag’s lower-middle-class housing in the Viennese Werkbundsiedlung?

This thesis will research historical literature and compare it with images and drawings of various houses belonging to the Raumplan and the Werkbundsiedlung. First, the Werkbundsiedlung and the Raumplan will be explained. After explaining the Raumplan and the Werkbundsiedlung, the dwellings designed by Groag, Loos, and Kulka for the Werkbundsiedlung will be compared with the characteristics of the Raumplan and earlier designs by the architects. This provides a clear picture of what characteristics of the Raumplan and earlier projects the architects incorporated into lower-middle-class housing. Based on this, a proper conclusion can be drawn on the research question.

It can be concluded that there is not one particular way of implementing the Raumplan into lower-middle-class housing. It can be done in several ways, addressing different characteristics of the Raumplan. One thing is clear: when applied, the Raumplan can be found in a derived or reduced form, and it does not fully correspond to the characteristics of the Raumplan as found in the larger villas.

This thesis offers an in-depth analysis of Villa Seidler in Olomouc, designed by the Czech engineer Jacques Groag. As one of his most iconic projects, Villa Seidler serves as a culmination of Groag's influences, artistic tendencies, and architectural evolution. Beginning with an exploration of Groag’s early life and formative influences, the thesis situates Villa Seidler within the broader context of his architectural body of work. Through detailed descriptions of the villa, comparisons will be made with other significant works by Groag, including Villa Moller and Villa Otto Eisler, emphasizing recurring themes such as spatial organization, window design, and the integration of terraces. By comparing Groag’s approach to that of his mentor, Adolf Loos, the thesis highlights Groag’s unique contributions to modern architecture, demonstrating his sensitivity to human needs, his attention to nature and views, and his innovative adaptation of Loos' construction techniques. This study aims to underscore the distinctive qualities that made Groag a deeply respected figure by many of his contemporaries, and to advocate for greater recognition of Villa Seidler as a masterful and often overlooked achievement in 20th-century architecture.

Situated in the mountainous landscape of Lower Austria, Landhaus Khuner (1929–1930), designed by Adolf Loos and Heinrich Kulka, offers a compelling synthesis of modernist spatial concepts and vernacular Alpine traditions. Originally conceived as a seasonal retreat for the Khuner family, the house embodies Loos’s theory of contextual architecture, where his urban Raumplan - an approach to volumetric spatial planning - finds new expression within a rural topography. Through detailed architectural analysis, redrawing, and historical contextualisation, this thesis examines how the house negotiates the tension between modernist abstraction and regional identity. Landhaus Khuner shows this confrontation in its interior. A rather hidden front door in the eastern facade leads to a cramped entrance, followed by a larger vestibule. From there, a turning staircase brings the visitor to the first floor, where a double-height galleried space opens to a large glass facade, with a spectacular view of the mountains. Landhaus Khuner shows how modernism can adapt rather than override when sustainability, regional specificity, and architectural identity become more important.

This thesis examines Heinrich Kulka’s role in developing the Raumplan theory by comparing Villa Holzner in Czechia and Sharp House in New Zealand. While Kulka is often regarded as a follower of Adolf Loos, his later works demonstrate how he adapted Raumplan principles to new cultural, material, and environmental contexts. In Central Europe, Kulka adhered to Loosian ideas, emphasizing spatial hierarchy, fixed furniture, and enclosed interiors. However, upon emigrating to New Zealand, he adjusted his approach due to different construction techniques, economic constraints, and a milder climate. This led to greater openness in planning, the transition from fixed to attached furniture, and an increased focus on transitional spaces. Through this comparison, the study highlights Kulka’s active role in refining Raumplan, proving it to be a flexible and evolving framework rather than a rigid doctrine, and demonstrating his lasting impact on modern residential architecture.

This thesis, titled "Inviting the Public," explores the design and transformation of the Public Library in Stockholm, encompassing the monument of the Asplund Library and its three annexes. The project addresses contemporary needs for public libraries to serve as multifaceted community spaces beyond their traditional role of housing books. The research investigates several core questions: How can the Asplund Library be fully public and barrier-free? How can neglected access routes be revitalized into inviting public spaces? How can the annexes be preserved and repurposed to form a cohesive campus with the main library?

Through thorough analysis and design iterations, the thesis proposes expanding the annex buildings and transforming existing access routes into interconnected spaces that promote both passage and leisure. This evolution aims to enhance the library's role as a center for lifelong learning and community engagement. Case studies of modern libraries in Oslo and Helsinki provide additional insights into integrating diverse functionalities and flexible usage of space. Ultimately, the project envisions a Public Palace that caters to evolving societal needs, fostering an inclusive environment for learning and community interaction.

The Stockholm City Library was designed by Erik Gunnar Asplund and constructed between 1924 and 1928. A lack of space has always been a problem, already after three years, the fourth wing of the building was constructed, completing the square. After this, only minor changes have been made to the library. Around the turn of the century, libraries were faced with a change of identity with the rise of neo liberalism and the increase of digital media. A 2006 competition sought to expand the library 3-fold; this competition was abandoned for political reasons and public unrest. In 2012 and 2014, two programs were written, leading to the commissioning of British architecture firm Caruso St John to work out a proposal to renovate the library and connect it with the underlying bazar. Again, this project was abandoned for political reasons. In 2023, the Interiors Buildings Cities studio was tasked with interpreting these briefs and finding a way to change to Stockholm City Library to turn into a contemporary one.

This project specifically, works completely inside the building, trying to as little as possible to preserve as much as possible of Asplund’s original architecture whilst still optimizing its operations and creating space for contemporary library programme. To achieve this, the library is relieved of the overhead programme that is intended for the system of public libraries in Stockholm, programme has been shuffled around, and opportunities were found where interventions could be done.

Within the rotunda and the perimeter halls, only conservation work has been undertaken except for the basement, and on the entrance floor below the rotunda and in the north wing. These spaces have the least original qualities and are therefore places where new interventions can be made. Here contemporary library programme is housed like a city living room, a café, group rooms, and a lecture space. The geometry of the circular drum, within the square perimeter halls, creates left over spaces: poché. Originally these pochés were intended to be lightwells, through time they have gradually been filled with servant functions, circulation spaces, ducts, and storage spaces. Because of their young age and their inferior architectural qualities, there are more liberties for demolition, however keeping elements that are still of practical use like elevators. The project fills these poché spaces to a degree, with new spaces that aid the functioning of Asplund’s library and are in dialogue with his architecture. These infills now have a dignity and aid the Asplund library in its functioning to ensure the preservation of this architectural masterpiece.

The master's programme in architecture constantly raises the subject of "positioning": How do we position ourselves as designers? How should architecture place itself in a broader environment? The graduation studio of Interiors Buildings Cities focuses on "Palace", referring to complex public interiors whose societal responsibilities are constantly re-interpreted over time. This project on the Stockholm City Library, in particular, urges us to reconsider the meaning of "libraries" as public spaces today – and in the future – and challenges us to adopt such transformation concerning Asplund's architectural legacy.

This also raises the question of how we, as future architects, deal with the past, present, and future.

The previous competition's intricacy emerged from the architecture and competing interests among the library institution, the municipality, and other political bodies. This project, therefore, seeks to form an opinion on how we treat a heritage building. This is especially relevant for architects nowadays because we need to know what to do with the old to build new. Sustainbility of architecture regards not only the tangible aspects but also the intangible ones. Adding another layer of time, therefore, gives the existing heritage building a new life. Yet, we must be aware that our current architectural proposal may not be, and will never be, the ultimate solution.

Just as a library holds books reflecting layers of human knowledge across time, its architecture bears traces of interpretation from different generations. I think that is the charm of this architectural intervention.

This project reimagines the interaction and connectivity between public buildings and the urban networks. Central to the design is an internal street that adapts to the terrain, tying Asplund’s library, the park, the observation hill, the lamella, and new event spaces together, and ensuring access from all directions. Inspired by Scandinavian commercial passages, this new linear-structured complex allows visitors to linger and enjoy the space in any season.

The "exoskeleton" expansion brings extra capacity and versatility to the existing buildings and substitutes as the main part of this new social and cultural destination. It provides the Asplund building with the possibility to be restored as a repository for books and studies. The devolution and reconstruction within the new hierarchy embrace a diverse and hybrid spatial aesthetic and transform the temple of books into a contemporary complex of reading, making, and sharing.

The project redefines the essence of library spaces, maintaining traditional reading rooms while introducing areas that prioritize freedom and spatial experience. Timber frames on tamped concrete plinths create distinct rooms, each integrated with its surroundings: a street connecting the bazaar and the park, a loggia fronting the hill, a pavilion by the pond… Guided by the belief that a well-configured space invites natural use, the ambition of this project is to create a welcoming and adaptable public interior that transcends the constraints of function or programme, starting a poetic dialogue with the ground we inhabit, and the world as a whole.

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.

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.

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 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.