This project proposes a mixed-use public building designed to stimulate social interaction and support personal development in the complex urban context of Sundholm. From 1909 to 1980, Sundholm used to be a closed asylum for criminals, who were put there to do forced labour, but even though the gate has been removed, the neighbourhood, characterised by social institutions, homeless people and a marginalised community, remains isolated from its surrounding context. By improving the neighbourhood’s connectivity and introducing a new meeting space for crafting, learning, and sharing, the building becomes a space where children, artists, the homeless, the elderly, and families can meet through a programme of craft and sharing. This design explores the boundaries of resilience by applying flexible design strategies to improve the building’s social and functional adaptability. Through a flexible and resilient approach, the architecture adapts to shifting users, seasons, and activities. It supports various fixed crafting functions, and temporary events like markets or exhibitions. This is achieved by strategically using unprogrammed spaces, adaptive boundaries, and user-adaptive elements. The result is a public condenser that doesn’t just serve its community today, but evolves with it.

The design brief calls for a public condenser — a space that concentrates and amplifies public life. In this research, the public condenser is envisioned not merely as a place of gathering, but as a catalyst for lifelong learning, rooted in both social and ecological dimensions.
At its heart lies the concept of the “seed” — a symbolic and spatial starting point:
• Ecologically, the seed fosters biodiversity, creating a cradle where human and more-than-human lives intertwine.
• Socially, it bridges divides, nurturing kinship across generations and communities.
To realize this vision, the proposal introduces a multi-layered intervention: an urban-scale socio-ecological corridor, a public condenser, and a prototypical design.
Architecture as Catalyst: Interventions Across Scales (XS, S, M, L)
The project embraces multiplicity in design, with interventions at different scales that respond to the needs of diverse communities and ecosystems.

XS — Nesting and Non-Human Sanctuary
At the smallest scale, the design fosters human–nature interdependence by creating sanctuaries for non-human life. Ethical micro-farms — including guano, feather, worm, and insect farms — along with façade-integrated nests, enhance urban biodiversity. These interventions address overlooked ecosystems and promote coexistence within the built environment.

S — In-between Spaces for Reflection and Recovery
For individuals facing mental health challenges, architecture holds the power to heal or harm. This scale introduces small, quiet spaces designed for reflection, self-care, and mental well-being — not as isolating enclosures, but as supportive environments that foster recovery and personal growth.

M — Public Typologies for Education, Creativity, and Healing
At the mid-scale, the Public Condenser offers communal spaces that promote learning, creativity, and cultural exchange. Children participate in play-based education, guided by university student mentors through storytelling, art, and therapeutic activities. These intergenerational interactions nurture mental health, intellectual development, and social cohesion. Outdoor areas for sports and recreation further reconnect people with nature and with each other.

L — The Learning Field / Green Mile Garden
At the largest scale, the project envisions the Green Mile Garden — a continuous green corridor linking Ørestad Fælled, the University, and Sundholm. This urban thread fosters movement, interaction, and unity, bridging marginalized areas with the wider city. It weaves ecological and human elements into a shared landscape of connection, renewal, and resilience.

This graduation project investigates how architectural design can foster social cohesion in the socio-economically challenged neighborhood of Sønderbro–Sundholm in Copenhagen, Denmark. The area faces significant spatial and social fragmentation, marked by underutilized public spaces, deteriorating infrastructure, and limited opportunities for inclusive interaction. Despite its current challenges, Sønderbro–Sundholm holds strong potential to evolve into a vibrant, green, and culturally rich district.

The project addresses a central question: How can architectural design enable social cohesion by stimulating dynamic forms of publicness and interaction in Sundholm? To answer this, the research explores three key sub-questions: (1) how to establish inclusive, adaptable spaces that challenge disconnection and balance the public/private divide to enhance well-being; (2) how personality-based design elements can support both physical and mental health; and (3) how sustainable architectural strategies can contribute to resilient, healthy urban environments.

By embracing a design approach that recognizes the sliding scales between public and private, and active and passive modes of engagement, the project aims to create a layered spatial system that accommodates diverse ways of life. Through this lens, architecture becomes a mediator—bridging divides, nurturing a sense of belonging, and laying the foundation for a more socially sustainable urban future.

The graduation project, "From Exhaustion to Resilience," is set in Sønderbro, a neighbourhood of Copenhagen. Initial research and site visit identified the primary challenge as a sense of exhaustion experienced by the residents, connected to their social interactions and urban environment. Inspired by Gilles Deleuze’s conceptualization of exhaustion, the term here describes a state of complete depletion and lack of possibilities, relating both to the urban environment and the social interactions within the community. Consequently, the main issue that the project addresses is how a public condenser can disrupt this exhausted context to generate new and previously unimaginable possibilities.
The design utilizes two guiding principles throughout the different scales to generate these new possibilities. The first is termed “the spectacular everyday”, it entails treating the everyday patterns and things in life as something spectacular and a source of new possibilities. The second principle focuses on turning boundaries into borders, edges shaped by interaction, as from this interaction new possibilities can emerge.
The final design functions as a framework, featuring both internal and external infrastructure that facilitate and support the everyday and turn it into something spectacular. In addition to this, the design establishes new borders full of interaction. By establishing these qualities, the design successfully disrupts the exhausted condition of Sønderbro, generating resilience and new and unimagined possibilities.
The final design functions as a framework, integrating both internal and external infrastructure that facilitate and support the everyday and turn it into something spectacular. In addition to this, the design establishes new borders full of interaction. By incorporating these qualities, the building successfully disrupts the exhausted context of Sønderbro, generating resilience and new and unimagined possibilities.

Sundholm, a historically marginalized quarter within Amagerbro, faces severe social and spatial challenges, including economic disparity, societal marginalization, and a lack of connectivity with its surroundings. Once an isolated social welfare institution district, the nieghbourhood continues to struggle with its negative reputation and physical disconnection, limiting its potential for urban renewal. The project aims to transform Sundholm into a socially sustainable and dynamic urban environment by introducing a public condenser that promotes interaction and inclusivity.

A key research focus is understanding how architectural morphology and topography can shape movement patterns and social encounters. The design proposes an open, accessible public space that integrates a wellness and sports center, cultural hall, and media unit along a central axis, which functions as the primary structuring element, encouraging movement, flow, and interaction across diverse socioeconomic groups, as well as introducing the project’s street presence on main boundary roads. By implementing strategic spatial porosity, effective pedestrian circulation, and diverse intensity zones, the project seeks to create an environment that naturally invites both local residents and outsiders, encouraging new social constellations.

The project also emphasizes environmental and economic sustainability. By incorporating
a nature-inclusive design startegy, the public condenser will connect human and non-human actors, thereby contributing to urban biodiversity. Furthermore, passive design strategies and modular construction techniques will be explored to ensure resource-conscious material use.

Finally, this project envisions Sundholm as a vibrant and inclusive urban district, where the
interplay of movement, porosity, and spatial intensity promotes a thriving public realm. By strategically designing for flow and social interaction, the public condenser will act as a catalyst for the area’s revitalization, strengthening its identity while making it an attractive and safe environment for all.

In contemporary urbanism, cities must be resilient and adaptable to remain livable. Climate change, demographic shifts, and evolving cultural patterns demand flexible approaches to architectural and urban design (Holling, 1973; Brand, 1994). Sundholm exemplifies these challenges as a fragmented neighborhood with a clear yet disconnected identity. Often viewed as a space where Copenhagen’s “unwanted layers” are placed, Sundholm reveals a delicate coherence next to its reputation. a blend of cultures, identities, and characteristics that are fluid and ever-changing. Traditional strategies of homogenization risk erasing the unique character of the area, contradicting the wishes of its residents.

The proposed Public Condenser embraces Sundholm’s fluid identity, transforming its fragmented nature into a strength. Instead of imposing a static, top-down vision, the design creates a setting where residents can shape their environment over time. The project’s core concept revolves around continuity. Instead of trying to completely reshape the neighbourhood, the idea is to build on the strengths the area already has. There are already good initiatives to make Sundholm a better place, but thease ideals must be exploited and followed through. By continuing this trend, we continue the progress of Sundholm as a whole. A central open pathway connects these clusters, promoting interaction while maintaining flexibility.

The design integrates principles of seasonal adaptability, adaptive reuse, material transformation, and evolving light conditions. It redefines the relationship between architecture and identity, making change a central design principle rather than an afterthought. By celebrating multiplicity, continuity and embracing whats already there, this project aims to serve as a model for future urban interventions. The findings will not only shape Sundholm’s Public Condenser but also inspire approaches that embrace the ever-evolving nature of urban life.

This graduation thesis explores architecture as a cinematic tool to induce interaction, emotional response, and social cohesion in fragmented urban contexts. Set in Sundholm, Copenhagen, a site suspended between care and neglect, order and disorder, the project seeks to mediate opposing conditions and foster moments of encounter across vulnerable societal groups. Sundholm today exists as a palimpsest: a former institutional landscape now challenged by physical disconnection, stigmatization, and socio-economic stratification. Yet, within these ruptures lies the potential for architecture to act as a bridge.

Through a research by design methodology, the project investigates how spatial sequencing and montage theory, rooted in the work of Sergei Eisenstein and Bernard Tschumi, can be spatialized as tools for healing and coexistence. In this approach, the city is read not as a static composition, but as a sequence of dramatic episodes. Architecture is thus not the backdrop but the medium through which social contradictions can be staged, softened, or reconfigured. The project poses the central question: how can induction, inspired by cinematic montage, be introduced as an architectural tool to promote social cohesion in fragmented urban space?

The proposed design is a Public Condenser, a hybrid cultural and social infrastructure that curates layered programs through episodic transitions. It is both porous and programmatically dense, allowing everyday rituals such as gardening, making, cooking, and resting to become shared experiences. The building narrates a story of Sundholm through spatial gradients, from dark to light, compressed to open, loud to quiet. This fluctuation in intensity and pace stimulates interactivity and self-awareness while allowing users to adapt according to need and state of mind. The architecture enables co-presence without forced participation, inviting its users—children, addicts, elderly, families—to encounter the other, or withdraw when necessary.

Cinematic techniques such as juxtaposition, rhythm, and the Kuleshov effect are reinterpreted architecturally through shifting thresholds, visual cues, and temporal variations in spatial experience. The use of nature through vertical gardens, water features, and crafted material transitions adds a sensory layer of calm and spatial legibility. The project also draws from neuropsychological and phenomenological research, suggesting that both addicts and children are neurologically and emotionally reactive to spatial cues, making architectural sensitivity not only desirable but necessary.

The design strategy is developed through layered media: storyboards, diagrams, interviews, and speculative collages that map behavioral sequences in urban space. These methods are used to construct a spatial narrative that does not eliminate chaos but renders it navigable. By framing social collisions as opportunities for spatial induction rather than barriers, the project reframes architecture as an active player in constructing shared memory and public imagination.

Ultimately, this thesis proposes a spatial scenography of the public, a cultural framework where architecture acts not as shelter or spectacle, but as a script for resilient coexistence. It is an attempt to curate space as an emotional, political, and social experience, one that embraces the complexity of contemporary urban life and transforms it into a meaningful sequence of interactions.

the research investigates the role of public architectural design in enhancing well-being and safety in socio-economically challenged neighborhoods, with a focus on Sundholm, Copenhagen. The study is grounded in the “5 Ways to Well-being” framework, emphasizing community connection, active spaces, and accessible design. Additionally, Neuro-architecture is implemented, to stimulate the well-being not only on a conscious but also unconscious level. The proposal is the design for a public condenser fostering inclusivity and comfortvwhile enhancing well-being and health, thereby improving social cohesion and residents’ quality of life.

The Public Condenser marks a pivotal step in challenging the negative narrative surrounding social life in Sundholm. Known for its history of marginalized groups facing barriers to public participation, the neighborhood calls for an architectural intervention that actively encourages social interaction among strangers. This project introduces a public program and design that foster spontaneous encounters and community engagement.

The Public Condenser aims to shift both the perception and behavior associated with Sundholm. At the heart of the design is the transformation of a former boundary, once defined by fences, barriers, and both physical and ideological separations between people and the institutional fabric of the area. By reimagining the entrance around a former gatehouse, the project makes the neighborhood more open and inviting to passersby, dismantling previous divisions.

Crucially, the Public Condenser is conceived as an extension of the existing Sundholm House 8. Currently used by NGOs and the municipality as a meeting and workspace bridging municipal functions and the southern part of Copenhagen, the addition brings new spatial capacity and renewed public identity to the site. Through its scale and civic character, the extension elevates the status of these important functions.

The interior design is grounded in the principles of both literal and phenomenal transparency. Promoting a visual and spatial continuity between interior and exterior environments. Constructed with timber cross-beams and Y-shaped columns, the architecture supports a fluid spatial experience. Staircases double as social meeting points, allowing different spaces to connect without requiring formal circulation. In doing so, the project unifies two aims: enabling genuine social inclusion while also creating moments of social attraction, together forming the singular purpose of the Public Condenser.

This research will explore how to reshape boundaries to promote social cohesion, emphasizing resilience and sustainability. Through a new interpretation of boundaries, I will examine their dual nature: on the one hand, boundaries provide a sense of safety and territory; on the other hand, they serve as platforms that enable communication, interaction, and collaboration. By constructing dynamic and adaptive boundaries, this research aims to reflect contemporary social relationships, fostering integration and inclusivity.

Boundaries act as a central theme across multiple scales and levels, encapsulating hybridity and multiplicity. At the urban level, I will investigate the continuity and resilience of spatial structures, aiming to create cohesive and sustainable urban environments. At the architectural level, I will explore space strategies, material attributes, and their potential to enhance adaptability, healthiness, and sustainability. This research will demonstrate how different functional spaces can be integrated, cooperate effectively, and contribute to a sustainable and healthy future.

In an era where public spaces often lack the warmth and accessibility necessary to foster genuine connections, and on a site dominated by closed buildings and transitional spots seen as non-place, this vertical campus emerges as a counterpoint—a destination in itself rather than a mere transition between destinations. By prioritising social interaction, engagement, and inclusivity, it becomes a dynamic catalyst for community cohesion.

To achieve this inclusivity, accessibility is a central point of interest, ensuring that everyone, regardless of ability, can navigate its spaces with ease. Furthermore, central to the building’s ethos is the concept of shared spaces—areas where individuals can come together to connect, collaborate, and celebrate. These spaces will not just be functional; they will be designed to evoke specific emotional responses through the strategic use of colour, texture, and form. Warm, inviting hubs evoke feelings of comfort, while bold pops of colour inject energy and vitality into the space. Shared spaces will be designed to serve diverse needs and preferences. From green patios that invite relaxation to bustling communal hubs that celebrate cultures and social interactions. These spaces will serve as the lifeblood of the building, fostering a sense of community and belonging among its occupants.

Collaborative use will also be encouraged, with flexible spaces that can easily adapt to a diverse range of activities and events. From art exhibitions to community workshops, the building will serve as a canvas for creativity and expression, fostering a sense of ownership and investment among its users.

The Escalating City is a public highrise project located next to The Hague central station. Due to the lack of buildable space, a different suitable location had to be found. The potentials of an infrastructural node nearby the station were interesting to me. Seemingly it is not a place to make a building, due to the neclegted state. But it is full of opportunities to connect the new public building to the flows of the city and allowing optimal access. The building rests on 4 super columns (or cores), supporting the whole structure. This structural strategy opens up a variety of possibilties. Firstly, it creates the possibilty for the tunnel, roads, tram tracks, cycling paths and buslanes to flowing underneath the building. Secondly, the absence of a central core provides lots of freedom on the floorplans and made it possible for the diagonal elevator tubes to go through.

Nowadays, urban campuses can form entire neighborhoods and be integrated into the city by including cafes, coworking spaces, cultural centers, parks, and sports complexes, taking into account the needs of residents and guests of the city. A high-quality educational infrastructure is not only an integral component for the development of universities but also a critical center of urban public life. University and city are living organisms and symbionts. Like any living organism, they are characterized by the complexity of the organization, by the specialization and close interrelationship of their parts, and by the opportunity for evolutionary development.

Games and physical activity can be one of the key elements for campus-city symbiosis. Contemporary researchers are convinced that spaces for physical activity and play on a university campus can not only be presented as separate sports centers but can also be directly integrated into academic buildings. Changing activities, movement, and play techniques help to acquire information at any age.

The research will confirm or refute the hypothesis that the Hague Central Station forms a multinational community with diverse cultures, and sports can become a starting point for a dialogue between them. Public spaces with the amenities for games and contests as a place for this dialogue will integrate the campus into a dense urban environment, make possible the symbiosis of the city and the university, and give rise to innovative ideas. The research will be the
basis for the architectural project of the Vertical Campus, including educational, office, sports, wellness, and recreational programs. The hybrid complex project will include new construction and reorganisation of the existing building of the Universiteit Leiden.

How can mental and physical activities coexist in the vertical campus of the future? What outdoor and indoor public spaces with amenities for sports and other physical activities can be included on this campus?

This graduation report examines the potential for an open and inclusive university campus situated in the heart of The Hague. Within the framework of the Public Building Graduation Studio, the vertical campus concept redefines how learning and interaction occur within and beyond the university setting. This exploration led to the development of Fusion Scientia, a guiding principle that embodies the vision of a dynamic public campus. More than merely a design for a new building, Fusion Scientia represents a transformative approach to education, fostering collaboration, accessibility, and lifelong learning within the community.

In response to the growing need for connectivity between academia and society, the design embraces an inclusive ethos that invites both direct users, students and staff, and the wider community to engage in a shared learning environment. This is achieved through a carefully crafted programmatic layout of vertical and horizontal spaces, ensuring collaboration and cohesion among various functions. Key areas such as the Mountaintop, Waterhole, Campfire, and Cove create vibrant hubs for interaction, enhancing the overall educational experience.

To promote a healthier and more inviting atmosphere, the design features a porous facade that breaks up the massing of the building, allowing for greater transparency and interaction between levels. The carved-out spaces create unique floorplan layouts, fostering spontaneous engagement among users. Incorporating green elements throughout the campus, such as terraces and indoor greenery, further enhances biophilia, promoting well-being and a connection to nature.

Sustainable climate design, including underfloor heating and ventilation systems, ensures a healthy indoor climate while reducing the building’s environmental impact. The project also emphasizes the importance of reusing existing structures, transforming early to late 1900s office buildings from grey and dark environments into a vibrant and light public space. This approach not only honors the architectural heritage of the area but also contributes to a more dynamic urban landscape.

Ultimately, Fusion Scientia serves as a concept that transcends traditional boundaries, redefining the role of the university in the 21st century. By integrating education with the urban fabric, the project aspires to create a more educated society through collaboration and engagement.

Historically, university buildings did exhibit a certain prestigious identity, as seen in the campus in Oxford for instance. Identity is shaped by the combination of behavior, communication, and appearance. Its meaning is determined by the collective, not the individual (Grouls et al., 2007). Similar like the clothes we wear, buildings we occupy say something to the outside world about the people we are. University buildings exemplify this idea of identity. (Sun, 2017). Different identities of university buildings, primarily arising from the physical setting and spatial characteristics, result from a varied mix of 'solid' (traditional), 'liquid' (flexible), and 'gas' (on demand) composition (Den Heijer, 2021). The study sheds light on the impact of the contemporary architectural identity of various universities, which often remains limited to the internal program and aesthetics of university buildings. However, today the distinctive features of these faculties, that in general are mainly only accessible for the affiliated students, are scarcely found inside most of these structures. The banality in the aesthetics of those ‘solid’ academic architecture, often characterized by monotonous glass facades - as for instance observed in the AvB Tower, near the Prins Clauslaan in the Hague - disrupts the identity of university buildings.
References indicate that currently a lot of methods of university construction detract from the prestige and distinctive characteristics of the faculties and other internal university functions, which were previously expressed with ornamental interventions, programmatic peculiarities, or other unique architectural ingenuities. In general, the facade is one of the most crucial elements, perhaps the most important one, for the representation and identity of those occupying the building, as well as for the identity of the city (Jurgenhake, 2016). Functions behind the facades are hardly recognizable today due to this aesthetical anonymity. Only the large signs with the names of the respective universities reveal what is happening behind the facades. This increasing anonymity of these university buildings and the negatively reduced dialogue between the urban environment and its associated social cohesion downplays interaction between users. The overall identity of university buildings must become more ‘liquid’ and ‘gas’, where universities are more flexible, shared and filled with opportunity and openness to the outside world (Den Heijer, 2021). A search to a good balance between solid, liquid and gas must be the goal.
The Hague Central Innovation Dirstrict (CID) will be the location for the future vertical campus. This location becomes even more significant when considering The Hague’s future vision of densification. The Hague, like many cities, is increasingly focusing on making better use of its limited urban space by densifying key areas. The CID has been identified as one of the city’s main hubs for innovation and development, with plans to integrate more offices, residences, and academic institutions to make it a more vibrant district. The negative impact on social cohesion is exacerbated by the surrounding governmental buildings along Prins Clauslaan, which, with their isolated (archipelago) structure, create a detached and solid identity. Additionally, the Utrechtsebaan highway acts as a traffic barrier, dividing the Centraal Station area and Bezuidenhout neighbourhoods. This results into a strong individualism and isolation, not only among the building typology, but also the people who occupy the buildings and the surrounding neighbourhoods. It is crucial for social bonding to get rid of this barriers and to have a public condenser, where the people of these ministries, neighbourhoods and campus can physically connect.
Moreover, interviews conducted in this area also reveal that various target groups emphasize the absence of diversity in building functions and spaces for playing, learning, and socializing. Therefore, the design aims to navigate university identity through a vertical campus with a flexible solid-liquid-gas composition, expressing with the ambition to include both a partly public and university identity. It This strategy intends to function as a hybrid urban condenser catering to diverse target groups within the connected neighbourhoods of the the Hague Central Innovation District, where individuals of all ages can engage and live together. To establish a vibrant central educational hub that unifies diverse these neighbourhoods and students, the design will prioritize diversity, visibility, interaction, adaptability, flexibility and movement, fostering an environment to play, learn, and socialize together.

Since 2020, when remote working became standard practice worldwide during the COVID-19 pandemic, several countries, including the Caribbean Island Curaçao, have introduced remote working visas targeting digital nomads to boost their local economy. As a result, the phenomenon of digital nomadism has seen a rapid increase in the last few years. Digital nomads are mobile professionals who use digital technologies and leverage workplace flexibility to perform their work remotely, while travelling on a (semi-)permanent basis living a nomadic life. Two years after the introduction of these visas, local communities of popular digital nomad destinations are protesting the negative consequences in the socio-spatial context resulting from the unrestricted access given to digital nomads. Since the economy of Curaçao is partly dependent on tourism, this thesis aims to investigate what spatial interventions in Curaçao can facilitate mutually beneficial co-existence between digital nomads and local communities beyond the potential economic benefits.
Henri Lefebvre’s spatial triad theory was used to systematically investigate the social, economic, and spatial practices of digital nomads in juxtaposition with the social and material infrastructures of Curaçao. The analysis followed the structure of the model for planetary-scale computation The Stack by Benjamin Bratton. The results include an overview of the full spectrum of spatial externalities of digital nomadism as well as an evaluation of the affordances of the island’s infrastructures to support a multiplicity of mobilities. Furthermore, the juxtaposition uncovered ‘pursuit of knowledge’ as common ground between digital nomad and settled communities. The material expression of this common ground was then imagined as a civil (knowledge) campus. The civil campus as a concept is a vision for the conscious and active involvement of all citizens and visitors to adaptively shape social spaces together based on shared values of collaboration, purpose, and a mindset of continuous learning. As a material place, the civil campus is an inclusive and porous knowledge-focused hub. It is formed through bottom-up adaptive processes that serve both the locals and the digital nomads, thereby enabling local communities to benefit from knowledge exchange with this global community. The public library acts as central knowledge node and meeting place, and spatial interventions in the public realm on the micro (furniture), mezzo (architecture), and macro (neighbourhood) level activate and support social interaction and active knowledge exchange between digital nomads and settled locals.

The project deals with a changing territorial environment on the Île aux Épis in Strasbourg, France, on which an urban (residential) masterplan has been drawn with a set of stipulations by the port authorities on the island. These stipulations introduce, among other things, a road that is to maintain the connectivity of the port to the highway infrastructure of France and Europe while avoiding the newly-introduced functions of the masterplan as much as possible. Consequently, the road as drawn in the masterplan negates much of its surroundings and thus, if left untouched, may generate conditions of residual spaces reminiscent to Ignasi de Solà-Morales' "Terrain Vague." The project, a bus transfer station, which is to facilitate the flux of tourists and passengers that arrive in or traverse through the city of Strasbourg, thus attempts to use the qualities of such residuals by creating new spaces in-between different sets of urban, infrastructural and natural conditions on the project site.

The section of the street, being a constitutive unit of every city, as a design task requires constant reworking and adjustments according to changing socio-political conditions. The society of the 21st century looks different than it used to, the authorities changed along with social stratification models, technological solutions evolved and, hence, the surrounding urban tissue needs to be updated. The street design of a 21th century European, democratic city needs to be reworked in order to host its citizens’ activities and needs most appropriately, otherwise it may turn out too restrictive. Remodelling the street in the spirit of democratic expression, whether it means agreeing or disagreeing, became the main premise of the project.

The project assumes reworking of the street profile, reaching beyond its traditional surfaces of a pavement and a facade, by adding depth and topography to the street and reusing existing buildings and adjacent empty plots as protest-related infrastructure edifices. Architectural solutions assume the creation of multiple ways of framing the protest, creating plurality of perspectives, providing both panoramic and immersive experience of the crowd. Carefully designed surfaces of the street pavement and varying ceiling modules provide orientation for the crowd. The subversive use of small architecture, i.e. benches, lamps is inherently contained in their design. The space is meant to provide all the infrastructure for protest as well as to allow for multiple creative uses of space through appropriation.

The project devises a system of protest street, which in its universality may prove replicable in various contexts and is not bound exclusively to the chosen location of Allee de la Robertsau in Strasbourg.

Rome is a city that has always been described as an eternal city. This eternal character can be found through the many traces that Rome contains of former states within its physical environment. When researching these traces, an interesting conclusion can be drawn; almost all physical elements have either fallen into decay or have continuously moved with the city to meet the needs of new social structures. But nowadays with the declaration of the city centre of Rome as one large monument, this is no longer possible. While at the same time the current social structure is crumbling. This is particularly visible with all of the Roman churches. Christianity is losing relevance fast and these church become nothing but museumpieces in the city that are no longer contributing to the current social structure of Rome. That is why this thesis proposes a radical move; to provide space in the city center for new architectural experiments by moving 10 of the 400 churches to a new location outside the city center. With the collection of 10 churches also a grand experiment will be conducted, creating a gigantic second hand religious market, using the historical logistical character of the new location. Continuing Rome is about giving the city the impulse to restart the layering that makes Rome great and to give Rome back to its own citizens for a new eternity.