Deze dissertatie is het resultaat van een lang onderzoekstraject naar het waarom en het hoe vrijevormarchitectuur ontworpen, getekend en gemaakt wordt en wat de filosofische en fenomenologische betekenis is van vrijevormarchitectuur. Aanvankelijk kijkend vanuit de strenge architectuurtheorie van de Benedictijner monnik Hans van der Laan waarmee de promovendus vele jaren intensief contact heeft gehad. Het bleek bij tijd en wijle een onmogelijke opgave te zijn om de streng gekantrechte wereld van de architectuur van Van der Laan te laten clashen, dan wel te vergelijken met haar tegenpool, de gekromde wereld van de vrijevormarchitectuur.
Om een evenwicht in kennis te verwerven tussen het met de hand getekende gedachtengoed van Van der Laan en het gecomputeriseerde gedachtengoed van de vrijevormarchitectuur concentreerde het onderzoek zich in eerste instantie op de ontwerp- en tekenprogramma’s waarmee vrijevormarchitectuur ontworpen, getekend en gemaakt worden. Die kennis over vrijevormarchitectuur werd pas echt verworven door de vrijevormgebouwen ook daadwerkelijk te ontwerpen, te tekenen, te herontwerpen en (op een speelse wijze) te hertekenen: ‘Research by Redrawing’, ’Research by Redesigning’ en ‘Research by Playing’.
Gaandeweg werd duidelijk dat het onderzoek twee invalshoeken omvatte. Een invalshoek vanuit het standpunt van de praktiserende architect en een invalshoek vanuit het standpunt van de beschouwende architect. De praktiserende architect die ontwerpt, tekent en maakt (of laat maken) en de beschouwende architect die naar filosofische en fenomenologische betekenis zoekt. De hoofdvraag van dit onderzoek luidt: Hoe wordt vrijevormarchitectuur ontworpen, getekend en gemaakt en wat is haar filosofische en fenomenologische betekenis?

This dissertation is the result of a long search for the why and how of free-form architecture is designed, drawn and made, and what the philosophical and phenomenological meaning of free-form architecture is. Initially, the doctoral student looked at the strict architectural theory of the Benedictine monk Hans van der Laan, with whom he had intensive contact for many years. At times, it proved an impossible task to clash or compare Van der Laan's strictly orthodox world of architecture with its opposite, the curved world of free-form architecture.
In order to acquire a balance in knowledge between the hand-drawn ideas of Van der Laan and the computerised ideas of free-form architecture, the research initially concentrated on the design and drawing programmes with which free-form architecture is designed, drawn and made. The knowledge of free-form architecture was only really gained by actually designing, drawing, redesigning and (playfully) redrawing the free-form buildings: 'Research by Redrawing', 'Research by Redesigning' and 'Research by Playing'.
Gradually it became clear that the research comprised two angles of approach. A perspective from the point of view of the practising architect and a perspective from the point of view of the contemplative architect. The practicing architect who designs, draws and makes (or has made) and the contemplative architect who searches for philosophical and phenomenological meaning. The main question of this research is: 'How is free-form architecture designed, drawn and made and what is its philosophical and phenomenological meaning?

As a result of the large amounts of CO2 emissions the built environment produces, it contributes immensely to climate change. Within the strategies developed to reduce anthropogenic CO2 emissions, getting buildings to an energy-neutral level is one of the main priorities. The blueprint for this altered energy-efficient building now seems to be ready: the heavily insulated outer shells of buildings have decreased the demand for energy and the necessary coolness and warmth are induced using low-temperature systems. Whether these changes are enough remains to be seen. The actual, measured energy efficiency of these environmentally friendly buildings turns out to be lower than their theoretical efficiency; they use more energy than was expected up front. This difference can partly be attributed to the increased complexity of and sensitivity to improper use of these buildings. Users simply do not understand them well enough. Improper handling then turns into energy loss. Rebound effects also play a role in the lower levels of energy saving. The rebound effect states that as a result of higher efficiency, energy will relatively be cheaper. Lower energy bills will lead to a more increased use of warming and cooling, or to extra activities – whether or not polluting – outside the building...

Paper is a fascinating material that we encounter every day in different variants: tissues, paper towels, packaging material, wall paper or even fillers of doors. Despite radical changes in production technology, the material, which has been known to mankind for almost two thousand years, still has a natural composition, being made up of fibres of plant origin (particularly wood fibres). Thanks to its unique properties, relatively high compression strength and bending stiffness, low production costs and ease of recycling, paper is becoming more and more popular in many types of industry.

Mass-produced paper products such as special paper, paperboard, corrugated cardboard, honeycomb panels, tubes and L- and U-shapes are suitable for use as a building material in the broad sense of these words – i.e., in design and architecture. Objects for everyday use, furniture, interior design elements and partitions are just a few examples of things in which paper can be employed. Temporary events such as festivals, exhibitions or sporting events like the Olympics require structures that only need to last for a limited period of time. When they are demolished after a few days or months, their leftovers can have a significant impact on the local environment.

In the context of growing awareness of environmental threats and the efforts undertaken by local and international organisations and governments to counter these threats, the use of natural materials that can be recycled after their lifespan is becoming increasingly widespread.

Paper and its derivatives fascinate designers and architects, who are always looking for new challenges and trying to meet the market’s demands for innovative and proecological

solutions. Being a low-cost and readily available material, paper is suited to the production of emergency shelters for victims of natural and man-made disasters, as well as homeless persons.

In order to gain a better understanding of paper’s potential in terms of architecture, its material properties were researched on a micro, meso and macro level. This research of the possible applications of paper in architecture was informed by two main research questions:

What is paper and to what extent can it be used in architecture?

What is the most suitable way to use paper in emergency architecture?

To answer the first research question, fundamental and material research on paper and paper products had to be conducted. The composition of the material, production methods and properties of paper were researched. Then paper products with the potential to be used in architecture were examined. The history of the development of paper and its influence on civilisation helped the author gain a better understanding of the nature of this material, which we encounter in our lives every day. Research on objects for everyday use, furniture, pavilions and architecture realised in the last 150 years allowed the author to distinguish various types of paper design and paper architecture. Analysis of realised buildings in which paper products were used as structural elements and parts of the building envelope resulted in a wide array of possible solutions. Structural systems, types of connections between the various elements, impregnation methods and the functionalities and lifespan of different types of buildings were systematised. The knowledge thus collected allowed the author to conduct a further exploration of paper architecture in the form of designs and prototypes.

To answer the second research question, the analysed case studies were translated into designs and prototypes of emergency shelters.

During the research-by-design, engineering and prototyping phases, more than a dozen prototypes were built. The prototypes differed in terms of structural systems, used materials, connections between structural elements, impregnation methods, functionality and types of building. The three versions of the Transportable Emergency Cardboard House project presented in the final chapter form the author’s final answer to the second research question.

Paper will never replace traditional building materials such as timber, concrete, steel, glass or plastic. It can, however, complement them to a significant degree.